G - Little Kids Rock

Transcription

ROCKFEST
BREAKOUT
SESSIONS
Generously supported by:
BORN TO BE WILD: 2
Improvising on All Modern Band Instruments
DON’T STOP BELIEVIN:12
Adapting Your Program for Special Needs Students
WE CAN WORK IT OUT:
Creating Lesson Plans for Your Classroom Using the Weekly Riff
14
PIANO MAN:
The Little Kids Rock Keyboard Experience 16
STAIRWAY TO HEAVEN:
How to Facilitate Student Songwriting
18
WE WILL ROCK YOU:
Setting Up Your Modern Band
20
GET THE PARTY STARTED:
Managing the Beginner Guitar Class
22
ONE NATION UNDER A GROOVE:
Defining The Groove with Improvised Bass and Percussion
24
SWEET CHILD O’ MINE: 34
Unlocking Lead Guitar In Your Classroom
WHILE MY GUITAR GENTLY WEEPS:36
Intermediate and Advanced Guitar Maintenance for Everyone
COME TOGETHER:38
How to Run a Successful Jam Session
EVERY BREATH YOU TAKE:40
Little Kids Rock Vocals
SMELLS LIKE TEEN SPIRIT:42
Stage Presence for your Rockstars
WHIP IT: 44
Classroom Management for the Modern Band Classroom
WALK THIS WAY:46
How to Get Gigs, Raise Funds, And Involve Community
THE TIMES THEY ARE A CHANGIN: 48
Music Technology to Incorporate in Your Program
TIPTOE THROUGH THE TULIPS:50
Ukulele and Your LKR Program
BORN TO BE WILD: IMPROVISING ON ALL MODERN
BAND INSTRUMENTS by Chuck Speicher
1) L OCKING IN THE BASS AND KICK
a) One of the most important foundations of
any jam session is the way the bass player and
drummer listen to each other. When we hear a
drum pattern, the kick drum gives a rhythm that
can “lock in” with the bass rhythm to make the
groove sound TIGHT!
i) Together we’ll practice doing this over a
couple of beats, first focusing our listening
on hearing the kick pattern, and then playing
a bass line along with that pattern on bass,
guitar, and keyboard.
2) S TRUM AND COMPING PATTERNS
a) Another super important element of the musical texture is the way strum patterns on guitar
and comping patterns on keyboard reinforce
the rhythmic subdivisions. Sometimes patterns
are used that reinforce the pattern of the snare
drum on 2 and 4. i) It’s nice when the guitarists are playing a
strong strum pattern for keyboard players
to complement that with a “broken chord”
pattern, or vice-versa. Keyboard and guitar patterns can also conspire together on
rhythms. Our jam sessions will explore all of
these possibilities.
3) JAM SESSIONS THAT TEACH
a) Using a Jam session as a launch pad to new
musical concepts and abilities is an excellent opportunity to use something familiar sounding on
an ongoing basis to acquire a new skill.
i) When students already know what to expect
from the sound of a “jam session”, they can
focus more on expanding outward without
having to worry so much about learning new
material. Jam sessions help students become
familiar with basic progressions that drive
most music while illuminating the “language”
aspect of music by providing things we can
do in different keys that still sound very
similar.
IV
© Little Kids Rock 2013
ii) Along these lines we can even see how the
same chords and key can sound completely
different with another rhythmic groove.
They provide an opportunity to use new
chord voicings, new notes in solos, and different strum and comping rhythms. Let’s
look at a couple great Jam Sessions together.
4) USING 2 CHORDS
Imagine Vs. Waiting in Vain (p. 4 - 5)
5) USING 3 CHORDS
In the Style of Twist and Shout vs.
In the Style of You Don’t Know You’re Beautiful
(p. 6 - 7)
In the Style of Brown Eyed Girl vs.
In the Style of The Lion Sleeps Tonight
(p. 8 - 9)
6) USING 4 CHORDS
In the Stye of Edge of Glory vs.
In the Style of With or Without You
(p. 10 - 11)
7) S WITCHING INSTRUMENTS AND KNOWING HOW
TO SIMPLIFY
a) One of the great benefits of the modern band
classroom is the opportunity for students to
switch between instruments. It’s a lot of fun for
someone who has never sat behind the drum
set to hear how instantly successful they can be.
i) We play differently when we’re more aware
of what the landscape of sound around us is
doing, and this helps us focus on the language
that music is instead of how good or bad we
feel we are at any particular instrument.
ii) Having strategies for switching instruments
is a great idea and is recommended as a
common practice. When moving to the
guitar for the first time, it’s good to know
how to use easy 1 finger chords. Same for
keyboard; using “piano power chords” or 2
note chords can help us make a meaningful
ROCKFEST Module Book
(CONTINUED)
beginning on instruments that can otherwise seem overwhelming.
iii) Using stickers to mark chord locations, jam
cards, and visual aids all conspire to make
the experience as seemless as possible.
8) R
EINFORCING BASS LINES AND DRUM GROOVES
a) Using other instruments to reinforce the bass
line is a great lesson in and of itself. Some songs
lend themselves to this idea more naturally
than others (“Sunshine of Your Love” by Cream,
Rock and Roll” by Led Zeppelin), but doing this
on any song can really reinforce the groove in a
fun way.
i) It’s also a great opportunity to turn a classroom song into a more interesting arrangement, as opposed to having 30 kids all
strumming the same pattern together.
ii) The same is true of drums and percussion.
Having a dedicated number of students
reinforcing the kick and snare pattern on
improvised percussion instruments makes
things sound more interesting than having
everyone do the same thing.
9) SOLOING
AND THE LANDSCAPE OF SOUND
a) Think about what a drawing of a house would
look like. There are certain things we would
expect to see on the ground (grass, rocks),
certain things we’d expect to see in the middle
of the picture (the house itself, trunks of trees),
and things we’d expect to see in the air (the sun,
birds, clouds, etc.).
b) Music provides our ears with the same sort of
landscape. We hear single note bass lines way
down low, chords and harmonies in the middle
frequencies, and melodies or solos up high.
i) When someone takes a solo, the first choice
should be notes that are up high enough to
stand out above the chords. They’re free of
course to dip down into the middle and low
registers, but notes in those ranges are not
as audible because of the chords and bass
sounds.
ii) Teaching a “solo scale” can work really well
by starting with the high notes first, although
scales aren’t traditionally taught this way.
Many of us have had the experience already
of teaching a scale from the bottom up, and
then the student starts in the lowest possible register eventually getting up to audible
notes.
iii) If we simply start by teaching from the top
down we can give a beginner a more realistic glimpse into what range sounds best for
taking a solo.
10) B
ASS SOLOS
a) When a bass solo happens, that instrument is
naturally playing in the lower frequency range.
Therefore if other instruments are going to play
anything during this solo as a rhythmic or harmonic reinforcement, it should be up high.
i) Using two note chords and a predictable
rhythm pattern make for great bass solo
accompaniments, while helping students
pay attention to the landscape of sound in a
more meaningful way.
11) D
RUM SOLOS
a) Since a drum solo is mostly about the rhythm,
the accompanying instruments would do best
to play only on “1”, either one note or a short
rhythm repeated over and over.
i) This will help instrumentalists keep time,
while helping the drummer stay on track
during his improvisation. Drum solos can
suspend a chord progression temporarily,
so it’s good to have your drummer figure
out some kind of audio clue to let everyone
know to come back in, like a certain pattern
on the floor tom, etc.
V
IMAGINE JAM
in the style of:
G
Guitar
OOO
O
O
1
2
2
3
4
1
2
3
+
3 +
4
C
G
Keyboard
C
X
C
G
1
3
1
5
3
5
RH
LH
1
+
Gx
+
3
+
4
+
x
x
Cx
x
Bass
x
2
1
+
2
+
3
+
4
+
Drums
G Pentatonic Scale Solos
Guitar
Keyboard
O OO OOO
Jam Card #5
“Start” arrow on G
2 2 2
3 3
3
0 3 =
Root notes
G
2 3 1
2 3
WAITING IN VAIN JAM
in the
in the
stylestyle
of: of:
G
Guitar
OOO
O
O
1
2
2
3
4
1
+
2
3
+
3
+
4 +
C
G
Keyboard
C
X
C
G
1
3
1
5
3
5
RH
LH
1
+
Gx
+
3
+
4
+
x
x
Cx
x
Bass
x
2
1
+
2
+
3
+
4
+
Drums
Guitar
Keyboard
O OO OOO
Jam Card #5
2 2 2
3 3
3
0 3 =
Root notes
G
2 3 1
2 3
TWIST AND SHOUT JAM
in the style of:
G
Guitar
O
D
O
XXO
1
2
1
2
3
2
+
3 +
4
D
C
G
D
C
G
1
3
5
2
3
3
4
1
Keyboard
C
X
OOO
1
1
5
3
3
5
RH
LH
1
+
Gx
+
x
3
x
+
Cx
4
+
Open
x
x
x
D
o x
Bass
x
2
1
+
2
+
3
+
4
+
Drums
Guitar
Keyboard
O OO OOO
Jam Card #5
2 2 2
3 3
3
0 3 =
Root notes
G
2 3 1
2 3
YOU DON’T KNOW YOU’RE BEAUTIFUL JAM
in the style of:
G
Guitar
O
D
O
XXO
1
2
1
2
3
2
+
3 +
4 +
D
C
G
D
C
G
1
3
5
2
3
3
4
1
Keyboard
C
X
OOO
1
1
5
3
3
5
RH
LH
1
+
Gx
+
x
3
x
+
Cx
4
+
Open
x
x
x
D
o x
Bass
x
2
1
+
2
+
3
+
4
+
Drums
Guitar
Keyboard
O OO OOO
Jam Card #5
2 2 2
3 3
3
0 3 =
Root notes
G
2 3 1
2 3
BROWN EYED GIRL JAM
in the style of:
G
Guitar
C
O
X
OOO
G
D
OOO
O
XXO
1
2
3
2
+
3
+
1
3
3
4
1
Keyboard
2
2
4
G
C
G
5
1
D
G
C
3
3
4
G
1
2
D
1
5
3
3
5
1
3
5
RH
+
1
Gx
1
+
+
2
x
Bass
LH
3
+
4
+
x
2
x
+
3
+
4
Cx
x
Gx
x
Open
x
x
x
D
o x
+
Drums
Guitar
Keyboard
O OO OOO
Jam Card #5
2 2 2
3 3
3
0 3 =
Root notes
G
2 3 1
2 3
THE LION SLEEPS TONIGHT JAM
in the style of:
G
Guitar
C
O
X
OOO
G
D
OOO
O
XXO
1
2
3
2
+
3
1
3
3
4
1
Keyboard
2
2
4
G
C
G
5
1
D
G
C
3
3
4 +
G
1
2
D
1
5
3
3
5
1
3
5
RH
+
1
Gx
1
+
+
2
x
Bass
LH
3
+
4
+
x
2
x
+
3
+
4
Cx
x
Gx
x
Open
x
x
x
D
o x
+
Drums
Guitar
Keyboard
O OO OOO
Jam Card #5
2 2 2
3 3
3
0 3 =
Root notes
G
2 3 1
2 3
EDGE OF GLORY JAM
in the style of:
G
D
Guitar
OOO
O
XXO
Emi
OOO
C
O
X
O
1
2
1
3
4
Keyboard
1
2
+
3
2 3
2
3
3
+
4 +
D
G
3
1
5
C
Emi
E
D
G
1
2
3
5
1
C
3
1
5
3
5
RH
+
1
Gx
1
+
+
2
3
+
4
+
Open
x
Bass
LH
x
x
2
+
3
+
4
x
D
o x
Open
o
x
E
x x
x
Cx
x
+
Drums
Guitar
Keyboard
O OO OOO
Jam Card #5
2 2 2
3 3
3
0 3 =
Root notes
G
2 3 1
2 3
WITH OR WITHOUT YOU JAM
in the style of:
G
D
Guitar
OOO
O
XXO
Emi
OOO
C
O
X
O
1
2
1
3
4
Keyboard
1
+ 2
+
2 3
2
3
3
3
+
4 +
D
G
3
1
5
C
Emi
E
D
G
1
2
3
5
C
1
3
1
5
3
5
RH
+
1
Gx
1
+
+
2
3
+
4
+
Open
x
Bass
LH
x
x
2
+
3
+
4
x
D
o x
Open
o
x
E
x x
x
Cx
x
+
Drums
Guitar
Keyboard
O OO OOO
Jam Card #5
2 2 2
3 3
3
0 3 =
Root notes
G
2 3 1
2 3
DON’T STOP BELIEVIN: ADAPTING YOUR PROGRAM
FOR SPECIAL NEEDS STUDENTS by Greg Pavliv
The word we use in education is “inclusion” but that all too often means handing a special needs student a
tambourine so they can “feel” like they are part of music class. What if we were able to make a series of small
modifications to our lessons so that these same students can participate fully and rock out with the rest of
their classmates?
1) MODERN BAND FOR EVERYONE
i) C
urrent 504’s and IEP’s in your program
ii) Ability to work with administration
(a) Occupational Therapists
(b) Social Workers & Guidance Counselors
iii) Eliminating Stereotypes
(a) Preventing bullying
(b) Utilizing peer to peer development
iv) How
to create an adaptation for the lesson
2) THE MAGIC OF UTILIZING CLASSROOM AIDES
i) They MAY know best
(a) Ask questions
(b) Listen to answers
(c) Engage them in the lesson
3) KEEPING IT SIMPLE
i) Is an adaptation needed?
(a) How can the lesson meet their needs without
adaptation
(b) Do you think you have an “unlabeled” student?
ii) Don’t
let the Perfect be the enemy of the Good
(a) Empower for inclusion
(b) Clearly defined goals
(c) Showcase talents on a sliding scale
4) THE AUTISM SPECTRUM
i) O
verview of the vast array of classifications
ii) Dealing
with misdiagnosis
(a) Severe ADHD
(b) Potential result of severe physical abuse
(c) Difficult behavior issues
iii) Inclusion
tips (since the “Spectrum” is so wide, all
suggestions should be considered on a case by case
basis
(a) Allow them to be included
(b) Give them the same instrument (muted)
1. Paper towel or rubber band guitar trick
2. Use an amplified instrument
i. In more difficult cases, have dual output
so that they hear one volume level while
the class hears another that is lower
XIV
(c) Give them a different instrument
1. It’s about their comfort level
(d) Be prepared for both non-participation and for
an outburst
1. But ALSO be prepared for praise (even for
the smallest of accomplishments)
(e) Talk to THEM not their Aide
1. Help them feel like they are “in the band”
(f) Over-excitement shouldn’t be punished, it
should be managed
(g) Make it a game
5) PHYSICAL LIMITATIONS
i) Unclassified
(a) Does the student WANT or do they even need
an adaptation?
1. Is the limitation temporary or is it permanent
2. Dealing with progress limitations
3. Can a minor adaptation be made?
(b) Consider using an alternate instrument
1. If unable to create a solution, consult with
the school OT or other relevant Administrator
ii) Classified
(a) Can a minor adaptation be made or is an alternate instrument needed immediately?
(b) Is their an IEP and/or an assigned OT that can
help with any modifications?
6) MAJOR PHYSICAL DISABILITIES
i) Progressively debilitating diseases such as “Lou Gherig’s” or Multiple Sclerosis
(a) Making initial adaptations to the lesson
(b) Instrument modifications
(c) How to adapt to a progressive need throughout the school year
(d) Keeping it Fun
ii) Cerebral Palsy and other severe limitations to the
use of limbs
(a) Open tuning
(b) Music technology
(CONTINUED)
(c) Wheelchair adaptations
(d) Getting the class involved
NOTES
7) BEHAVIORAL DISABILITIES
i) H
ow does a behavior become classified?
(a) Take a step back
(b) Utilize Aides and Administration
ii) Don’t
be their friend, be their teacher
(a) Must be strongly student centered
(b) Embrace their feedback
(c) Always have a Plan “B” and it’s good to have a
Plan “C”
(d) Expect the unexpected
8) DOWNS SYNDROME
i) Include them as an equal to their peers from the
beginning
ii) Spend
extra time as needed
iii) Be
respective of positive emotional responses
(a) Don’t punish them for being happy
(b) While teacher/student physical contact is a
major issue, be prepared for the random hug,
high five or handshake (they are not being disrespectful, these are beautiful moments)
1. To be safe, let their OT, PT or other Administrator know if a student hugs you or likes
to show thanks physically
2. Without being negative, these professionals
can help the students begin to control their
behaviors in the classroom
iv) In most cases, no modifications to
instruments will be needed (unless
they have been classified as “MultiplyDisabled” in which case, consult their
IEP and/or administration to determine
how to make proper accommodations
XV
WE CAN WORK IT OUT: CREATING LESSON PLANS
FOR YOUR CLASSROOM USING THE WEEKLY RIFF
by Scott Burstein
Each week, Little Kids Rock sends out a new song for teachers to utilize in their classrooms, and this session
will walk through a few ways to turn this into a solid lesson plan for different levels of skills and instrumentation. A brand new chart will be looked at, listened to, and then the resources will all be examined for each
instrument, showing instrument by instrument how to teach the chart and put together a solid group performance for a lesson, as well as how to mine the song for new skills to build more comprehensive players. The
session will also discuss varying the song chart for different sounds to make it more appropriate for different
ages and interests. Come ready to play!
BEEN TRANSPOSED?
1. DISCOVERING THE NEW SONG
a. Listen to the Song of the Week. What are some
4. PUTTING IT TOGETHER AND BEEFING IT UP
important features of it?
a. Think of ways this chart can be adapted to stui. Form
dents of all abilities and interests. How simple can
ii. Instrumentation
it be made without losing the original completely?
iii. Speed
How can you modify it so your rockers dig it, or
iv. Genre
made an acoustic jam, etc. Is there a good spot
v. Feel – minor or major
for a solo, and what key?
vi. Appropriateness
b. How can this song fit into what you have already
used before? Does it build off old skills yet add
something new? How can it?
2. PLAYING THROUGH THE PARTS
a. Guitar Chart
i. What are the chords? All open? Some bar
chords?
ii. Are there any specific melodic riffs that can
be pulled out and played along with?
iii. Could it be modified to use power chords
or bar chords, especially at the chorus?
b. Drum Chart
i. Will the simple back beat work?
ii. How does it differ? Can it be simplified?
Auxiliary percussion?
c. Bass Chart
i. How simple is it? Can it be modified?
d. Keyboard Chart
i. Difficulty? Does it follow a standard progression (aka. Axis of Awesome?)
ii. Are there any specific melodies that can be
pulled out and played?
NOTES
3. PLAYING ALONG WITH THE RECORDING – CAN
THIS BE DONE IN THE ORIGINAL KEY OR HAS IT
XVI
NOTES
ROCKFEST Module Book XVII
PIANO MAN: THE LITTLE KIDS ROCK
KEYBOARD EXPERIENCE by Chuck Speicher
1) C
HOPSTICKS AND FORKS
a) The keyboard provides us with a very easy to
use pattern made out of the black keys. Using
the lesson plan on “Chopsticks and Forks” we’re
going to understand low notes, high notes, single
notes, clusters of notes, and patterns.
2) S OLOING WITH CHOPSTICKS AND FORKS
a) Our introduction to the keyboard using the
“Chopsticks and Forks” provided us with an
opportunity to use what we’ve learned to take
our first solo. By playing over the “Superstition
Groove” we’ll hear how these notes can sound
minor and then in the “Axis of Awesome”
progression we’ll hear these same notes sound
major.
i) The “Soloing With Chopsticks and Forks”
lesson plan will serve as a guide to working
in new improvisation ideas.
3) F INDING NOTES WITH CHOPSTICKS AND FORKS
a) Now that we’ve used these black key groups
to make a strong familiarity with the keyboard,
we’re going to use them to find the letter
names.
i) “C” stands for “Chopsticks” and “F” stands
for “Fork”!
ii) Using these notes as a starting point we can
build “Piano Power Chords” and “Piano Mini
Chords” to jam over some of our favorite
songs.
4) P
IANO COMPING PATTERNS THAT DEFINE THE
GROOVE
a) The way we apply rhythm to playing chords is
what we call a “comping pattern”.
i) Using the same chord progression going
from C to F we’re going to play “Imagine” by
John Lennon, Love Me Do and Baby You Can
Drive My Car by The Beatles, Home by Phillip Phillips, and Waiting in Vain by Bob Marley.
ii) Even though the chords are staying the
same, it’s the way we treat rhythm that gives
XVIII © Little Kids Rock 2013
each song it’s personality.
5) THE 3 CHORDS DRIVING ROCK AND ROLL
a) Using the C, F, and G chords we can make
chord progressions found in our favorite songs.
Simply changing the order of these same three
chords can make songs sound completely different from each other.
i) I IV V IV Twist and Shout by The Beatles, La
Bamba by Ritche Valens, etc.
ii) I IV I V Brown Eyed Girl by Van Morrison,
The Lion Sleeps Tonight by The Tokens, etc.
iii) I V IV V Jack and Diane by John Cougar
Mellencamp, All Out of Love by Air Supply,
etc.
6) VOICE LEADING WITH JAM CARDS
a) When we use good voice leading, we’re connecting one chord to another using the smoothest possible transition. This usually means we’ll
be applying inversions to some of our chords.
i) Although this concept can seem abstract
to a beginner, it’s made easier by using Jam
Cards specifically designed for teaching
good voice leading. This is a great concept to
integrate after a student is comfortable with
hearing and using root position chords.
7) S OLOING WITH THE PENTATONIC SCALE IN MAJOR
a) Here we use a Pentatonic Scale Jam Card to
demonstrate how this technology can be applied to any key. Then practicing it in C Major
we look at a way to remember it using the
black keys in a specific way.
8) THE AXIS OF AWESOME IN C MAJOR
a) The “Axis of Awesome” is a comedy rock band
that made a video featuring the famous “4 chord
song” and demonstrated beautifully how the
same four chords are the driving force behind
over 50 hits from the past decade. Paying attention to music this way illuminates music as a
language while training our ears to perceive it
(CONTINUED)
this way.
i) Using various “comping patterns” and keyboard solos we get to cover everything from
“Edge of Glory” by Lady Gaga to “With or
Without You” by U2. (See lesson plan “The
Axis of Awesome”).
9) THE AXIS OF AWESOME IN A MINOR
a) These same four chords instantly sound like
we’re playing in a “minor key” simply by starting
on the A minor chord instead of the C Major
chord.
i) We notice also that the same pentatonic
scale used to solo over the “major key version” now sounds like a minor pentatonic
scale.
10) THE ICE CREAM CHANGES
a) The “Ice Cream Changes” is the name used for
a chord progression that became popular in
the 50’s and 60’s. It’s made out of the same four
chords used in the “Axis of Awesome” progression, and gets used all of the time even today.
i) Applying comping patterns to it can make it
sound in the style of “Earth Angel” by The
Penguins or “Baby” by Justin Bieber!
in the style of
BABY:EARTH ANGEL: 103
64
RIGHT
RIGHT
LEFT
LEFT
BEAT:
1
+
2
+
3
+
4
+
BEAT:
1
2
3
4
5
6
11) THE BLUES SCALE
a) The blues scale uses the same notes as the pentatonic scale we just learned about, except that
it adds one more note.
i) Using this extra note along with a good “piano fingering” allows keyboard players access
to the same kinds of tricks guitar players get
away with by using “hammer ons” and “pull
offs”. It’s easy to play fast and sound great
with this scale.
12) B
LUES IN A
a) To play a blues in A we’re going to pay attention once again to the way black keys get used
in these chords; that each one has a black key in
the center.
i) By applying a “shuffle” rhythm to some left
hand “Piano Power Chords” we’re able to
get a good traditional blues sound out of the
keyboard.
13) B
LUES LICKS
a) Blues “licks” are like little phrases or short sentences made out of notes. They’re usually only
a couple notes long and used over and over by
lots of keyboard players.
i) Learning to play a couple of them can help
us put rhythm and notes together in a way
that sounds great while giving us more
choices.
ii) Learning to play licks also puts us in touch
with ideas we can apply to our own musical
ideas.
iii) Learning the words to a new language isn’t
much good if we don’t have any idea how
to put sentences together with them—licks
provide this kind of language based musical
insight. (See lesson plan on “Blues Licks”)
14) Internet Resources
15) “30 Must Have Blues Piano Licks”
16) http://www.youtube.com/user/
Paganful?feature=watch17)
17)WebPianoTeacher2
http://www.youtube.com/user/
webpianoteacher2?feature=watch
18) GrooveWindow.com
19) YouTube Channels with Great Keyboard Lessons
20) How to Play a FunkGroove
XIX
STAIRWAY TO HEAVEN:
HOW TO FACILITATE STUDENT SONGWRITING
by Dann Shea
How do you approach songwriting? What have you written lately? Do you share these songs and your
method of workflow with your students? Do you expect them to write and create but feel you can’t do this
yourself? You too should be a songwriter! I have found that the quality of my student’s songwriting directly
parallels the quality of my demonstration. – Dann Shea
1) DISCUSSION:
a) Why write songs? - It is the expressive tool of
modern bands.
b) How do the great songwriters start?
i) Lyrics first?
ii) Melody first?
iii) Chords or Riffs first?
iv) All at once?
2) L YRICS FIRST
a) Start with demonstration
b) Method of writing
c) Think out loud for your students to hear (all of
it)
i) One Method to get started: Three –Step
Lyric-Focusing Technique: This technique was
designed to help you focus your idea and
craft lyrics that lead your listener to your
title.
(a) Start with a Title: Write down the title
in a notebook. Use one or two sentences to explain what the title means
to you. Sitting down and writing songs
can often be a daunting process, especially if you are trying to force something that isn’t there. I suggest keeping
a “Hook Book”* with you. The “hook”
is any part of the song that grabs the
listener. When you get that great line
or idea, write it down in your book and
then create around the “hook”!
(b) Outline
the Story: Write down the
information that needs to be conveyed
in the first verse to lead the listeners
to your title. This is where you create
your “story “. Ask yourself “Then what
happened?” or “What else happened?”
to round out your second verse. This
is the time to focus on the meaning of
XX
your lyric so that it directly relates to
your title.
(c) Write the Actual Lines of Lyric: Now
that you have a basic outline for your
song, use some of these tools to write
the actual lines of the lyric.
ii) Maintain One Tense and Tone
iii) Develop Strong Opening Lines
iv) Maintain Continuity or Flow
v) Incorporate Detail, Action and Imagery
vi) Keep it Conversational “Think Wal-Mart
not Hallmark”…Jason Blume
vii) Use Rhymes, Opposites or Twists on
Words
viii) Re-write lyrics, make each line its strongest
3) C
REATE WORD/LYRIC WORKSHEETS
a) If you find yourself stuck, create a worksheet
with a rhyming word bank. Choose 5 lead
words that you would like to use in your song.
You may want to choose words from your title.
Create 5 columns and list as many rhyming
words for each lead word. You may find that
this exercise moves your song to a different
direction. This is fine as long as you stay consistent in your delivery.
4) M
ELODY FIRST:
To create anything more than a string of pitches,
you must have an idea that “sings”!
a) A simple and sing-able motif is an essential part
of a great melody.
i) “I choose the title before I begin writing the
melody. Usually I first get some idea of the
story or feeling I wish to convey, and then
devote serious energy to the music.” Jim
Webb.
ii) “A good hook, often in the title, leads to a
(CONTINUED)
good tune and the lyrics will flow without
effort.” Bob Barrett.
5) W
EATHER IT’S CREATED INSTRUMENTALLY OR
VOCALLY, all melodies are first a product of improvisation, another of our Core Values.
i) Improvising a melody is a critical component to
songwriting. Only after your young musician has
improvised/created a musical idea can they then
decide if they want to keep it. It is the decision
to keep the improvised idea that makes us composers of song melodies.
ii) When the student can play or sing their song
the same way twice – you know it’s composed.
chords have been used hundreds of times,
what makes this song 100% original is the
lyrics and the melody!
ii) Try singing your own lyrics to a 1 4 progression. Pick a key that’s easy for you to play on
keyboard or guitar and that fits your voice
well.
NOTES
6) HINTS AND TIPS
a) Start with your title and or chorus’ main idea.
Sing/play that motive until you are satisfied with
it.
b) Build your phrases from extending this thought.
c) Create your verse to lead into and support
your chorus. Verses are typically in a lower
range than the chorus.
d) D
on’t fear repetition.
e) “Try writing a chorus for your chorus.” Paul
Baloche
f) Look closely at your chord progression. Use a
different starting chord for the differing section.
7) CHORDS FIRST:
One of the most common chord progressions in all of
music is the 1 4 progression (A going to D in the key
of A, or G going to C in the key of G). Let’s look at a
couple of songs that use that progression:
a) In the Style of Waiting in Vain (verse and chorus)
i) In both the verse and the chorus of this
song this same chord progression is being used over and over! Even though these
XXI
WE WILL ROCK YOU:
SETTING UP YOUR MODERN BAND
by Chuck Speicher
This session is intended to not only help Little Kids Rock teachers decide which instrumentation is best suited to their
class but to help them achieve the best possible sound for rehearsal and concerts. We will first discuss the difference
between different class organization, from mostly guitar and a rhythm section to rotating rock bands to a large modern
band ensemble, highlighting the pros and cons of each situation. Afterwards, each instrument will be looked at individually, starting with the sound considerations for guitar, bass, effects pedals, amplifiers, drum set, keyboards, and vocals.
1. DECIDING ON WHICH CLASS SETTING IS BEST
a. Rotating Rock Bands
i. Pros – Most like the bands they actually listen to,
gives others a chance for feedback and observation, little room to hide
ii. Cons – Not enough rehearsal time, especially in
larger classes, and many classrooms aren’t set up
well for this
b. Guitar Class with Rhythm Section
i. Pros – Most students learn on the same instrument, making instruction simpler and streamlined
ii. Cons – Sound for concerts is tough, keeping the
rhythm section on task
c. Large Modern Band
i. Pros – Everyone involved at once; shows an all
inclusive effort
ii. Cons – Amplification/sound; overreliance on a
few soloists; gear costs.
2. GETTING THE BEST SOUND OUT OF EACH INSTRUMENT
a. Electric Guitar
i. Each guitar is a bit different and sounds that way
ii. Single coil versus double coil pick ups will have a
different array of knobs, switches, and sound. On
a three single coil guitar (like a Fender Squier),
I typically use position 2 of 5 for the pickup
selector. 1 is too thick, 5 is too tinny, sometimes
switch to 4 for soloing
iii. Make sure they have the volume all the way up
on the guitar when deciding on volume for the
ensemble, there is nothing worse then setting
up the sound you like, then finding out the students had the guitar halfway up and they keep
messing with it
iv. Experiment with the tone knobs to find the
setting you like. Try not to be too bass heavy
(won’t cut through the mix) and not too treble
heavy (can really cut through enough to make
your ears bleed), but note this is typically the
opposite of what I recommend for the amps
v. String gauge is a serious consideration. 8s, 9s,
10s, 11s are the most common sold in stores,
XXII © Little Kids Rock 2013
and the thinner the string the easier they are to
play fast on, but the thinner the sound as well. I
typically play 10s, but 9s are relatively standard
for students
b. Guitar Amplifiers
i. As varied as can be, but most have volume, gain,
treble, middle, bass, and possibly a separate channel for distortion and reverb.
ii. Volume vs. Gain can be tricky, but if you want a
clean sound, go very low gain and adjust the volume higher, reverse is true for distorted sound
iii. Experiment away with the EQ (treble, mid,
bass), but I usually use a reverse bell curve for
a sound that cuts through but isn’t too bright.
Bass around 8, Mid around 3, Treble around 8.
iv. If the amp has a distortion switch, there will be
volume on both channels, try to make sure they
match.
v. Be careful with reverb! I visit a lot of classes
where that knob is up to 10, which will sound
super duper soupy. It is there to mimic a larger
hall with live acoustics, so generally keep it low
(0-2) unless you want to sound like you are playing in a church
c. Effect Pedals
i. There are a lot of options for effects pedals
(stomp boxes) or effects processors (usually have
multiple options). I recommend using a few in
this order if you want to get fancy:
1. Chromatic Tuner – It is just a fancy tuner,
but you can use it on stage, in the middle
of a song if necessary, and is also good as a
double for a mute
2. Distortion/Overdrive – Great for getting
that easy heavy sound
3. Chorus – Especially nice with acoustic sections of songs in thickening the sound, or
distorted lead playing
4. Digital Delay – Adding a bit of delay can also
hide a lot of mistakes and give a bit more
ethereal quality to your playing
5. Wah Wah – Its awesome, fun, and Jimi HenROCKFEST Module Book
(CONTINUED)
drix used it!
d. Drum Set
i. Hi-hat clutch – I often see it open far too far. If
your students aren’t going to use it open at all,
just shut it down. Otherwise, should only lift up
around half an inch
ii. Tuning and tension – I don’t think one necessarily
needs to get the drums tuned perfectly, but make
sure the smaller toms sound higher then the
lower ones. Don’t tune in a circle around the
drum, but constantly switch back and forth to get
an even tuning. There should be some give and
flexibility in the heads, but shouldn’t be wobbly
iii. R
ug – MAKE SURE YOU HAVE A RUG! Nothing worse then the sliding drum set.
iv. M
ic or not – In concert, you may need to mic
part of the set, experiment with it, but especially
buying a cheap short mic stand for the bass
drum can be helpful, it is the one most likely
needed to mic.
e. Keyboards and Bass
i. B
oth can either use amplifiers (for class typically)
or a DI: Direct Input, hooking straight into a mixing board
ii. For the bass, if using an amp, please USE A BASS
AMP! The bass frequency will kill a guitar amp
quickly.
iii. Be careful to not have the bass too bassy, tonewise. Students love having a deep sound, but in
a show it will usually be so buried in the mix as
to be useless, add some pop to it.
f.Vocals and Microphones
i. Mics for solo instruments and sections are very
different. Most vocals use a mic that you need to
get close on like a BETA-58 (a dynamic microphone). For larger groups of instruments such
as a lot of acoustic guitars, a condenser mic will
work better since you can pick up from a distance
ii. Work with singers on their singing with a mic
technique. If they only do it in class without one,
onstage they will either sing too far from the
mic or not directly into it. And everyone in the
audience will blame you for the singer not being
heard
iii. Please, don’t use the microphone in class for
talking to students. They will just match your
volume.
g. Gig Considerations
i. Sound Check!
ii. Make sure your musicians don’t walk on stage,
plug in, and give free previews to make sure it
is working, i. e. play a riff from the song they are
about to play
iii. Have them trained to never play when plugged
in unless asked to, and be ready to. Nothing
sucks worse then a sound check where the bass
can’t tune because the guitar won’t shut up and
the drummer isn’t paying attention so he doesn’t
play when asked.
iv. Please turn off the amps before plugging in or
out
h. Class set up considerations
i. Can be very different set up in a class versus a gig
ii. Keep the bass amp and player near the drummer,
make sure the amps are in a spot that the drummer can hear the guitars as well
iii. There is no reason to not play in a semi-circle
or circle in the classroom, so they can all see each
other and hear each other as well. Just make sure
they get a bit of practice in gig set up as well
NOTES
ROCKFEST Module Book XXIII
GET THE PARTY STARTED:
MANAGING THE BEGINNER GUITAR CLASS
1) THE FIRST LESSON
i) Respecting the instrument
(a) Unpacking
(b) Quiet
Guitars and Classroom Management
(c) Guitars
to Sleep
(d) End of Class
ii) Learning the Neck
(a) Fingers 1-4
(b) Strings 1-6
(c) Frets
(or Boxes) 1-5
iii) The First Chord
(a) Starting with one finger chords
(b) Starting
with D
(c) Starting
with other open chords
iv) One Chord Exercise
(a) One Note Solo
(b) Two Note Solo
v) Referencing the Teacher’s Manual
2) S INGLE FINGER CHORDS
i) Concept
(a) “Just the Way You Are”
(b) “Eleanor Rigby”
ii) As a method to teach chord charts
iii) As a substitute to more difficult chords
3) IT’S A TOOL NOT A JEWEL
i) Tapping the top
ii) Tabletop Guitar: Guitar as Drum
iii) Open string bass
iv) Two string bass
by Greg Pavliv
5) R
HYTHMIC POSSIBILITIES
i) Using the “1+2+3+4” method
(a) Adding up and down strokes
ii) Call and Response
(a) 1 chord
(b) Multi-chord ear training
iii) Using the Little Kids Rock Rhythm Library
iv) “We Will Rock You”
(a) In A
(b) In Em
(c) Open tuning Em11
6) P
APER TOWEL TRICK
i) How
(a) Chords
(b) Power chords
(c) Bass
(d) 2 Note Solo
(e) 4 Note Solo… etc.
7) M
OVEABLE CHORDS
i) Use the A chord
(a) Fret 2 = A, Fret 4 = B, Fret 5 = C, Fret 7
= D, Fret 9 = E, Fret 10 = F, Fret 12 = G
8) U
SING CHORD CHARTS AS THE DRIVER
i) Selecting a song
ii) Teaching the Rhythm
iii) Demonstrating the Solo
iv) Adding other instruments
4) B
UILDING CHORD STRUCTURE
i) Start with D (I)
(a) Add A (I-V)
(b) Add G (I-IV-V)
ii) In key of G (G = I, D=V)
(a) Add C (I-IV-V)
iii) Add Em (ii in key of D) ( vi in key of G)
iv) Add Am (ii in key of G) (vi in Key of C)
v) Add F and unlock I-IV-V in the key of C, etc…
XXIV © Little Kids Rock 2013
NOTES
ROCKFEST Module Book XXV
ONE NATION UNDER A GROOVE: DEFINING THE
GROOVE WITH IMPROVISED BASS AND PERCUSSION
by Chuck Speicher
A lot of Little Kids Rock teachers have to travel between rooms, between schools, or have limited access to
instruments. This does not mean however that our students have to have limited access to musical arrangements. Knowing how to improvise with what you have can turn a boring predictable arrangement of a song
into something much more expressive and imaginative.
1) TRAINING THE EAR
a) To get us thinking about common sounding drum
patterns, let’s play a couple of classroom games to
practice hearing them.
i) H
ANDOUT: KICK AND SNARE BINGO
ii) HANDOUT:
BASS LINE BINGO
iii) GAME:
What Beat Am I Clapping On?
iv) GAME:
What Note Number Do You Hear?
2) VOCALS ONLY SONG ARRANGEMENTS
a) Using
only our voices, lets listen to an arrangement
together and break it down.
i) What can we do for “body percussion” keeping
in mind the kick and snare pattern that is at the
heart of it’s sound?
ii) How
about the bass line? Any signature chords
or riffs on top? (see lesson plan “Vocal Only
Song Arrangements”) This gets us focusing on
music with our ears, while reducing the “affective filter” of the students (and us)!
3) PLAYING BASS LINES ON KEYBOARD AND GUITAR
a) When we don’t have a bass player in our keyboard
or guitar class, designating students to perform this
part is a great idea. It’s a great idea even if you DO
have a bass player!
i) When students focus on this important foundational element of an arrangement their imaginations and musical awareness are brought to a
higher place. Let’s try adding this to a couple of
arrangements together.
1 )Octopus’s Garden
2) Baby
3) Girl on Fire
a music lesson is invaluable. After students have
some experience manufacturing the kick and
snare patterns or the 8th note subdivisions their
playing transforms in the way they handle rhythm.
ii) We can even do it in such a way that the same
parts of the body are used to control our homemade percussion instruments as on an actual
drum set.
5) THE IMPROVISED DRUM SET
a) Place a piece of a cardboard box underneath of your
right foot, and a piece of paper on your left knee.
Using the right foot and left hand let’s play through
the kick and snare patterns on the handout.
(1) Adding subdivisions (8th or 16th notes we
would typically hear on the high hat or ride
cymbal) is especially difficult for beginners.
It’s wise to have a separate group do this
part while the others play the kick and
snare patterns. This simultaneously encourages focused listening as the different parts
align with each other.
(i) SEE HANDOUTS. When students
can play these patterns all together
by themselves, they can EASILY
transition to a real drum set. The
fundamental coordination has been
taken care of.
6) IN PUTTING IT ALL TOGETHER, the bass player (who is
on a keyboard or guitar) has to pay special attention to
the kick drum pattern (which is on a cardboard box).
The “locking in” of these two parts make the bass and
drums a powerful ally to any groove! Let’s try putting it
together using those same three songs.
4) IMPROVISING THE DRUM SET
a) Adding the drum set part to an arrangement is really
easy and really fun.You can use “table top” guitars,
drum sounds on your keyboard, or home-made percussion instruments.
i) This can allow you to assign ¼ of your class to
playing a great sounding “drum groove”, which as
XXVI © Little Kids Rock 2013
(CONTINUED)
NOTES
ROCKFEST Module Book XXVII
THE IMPROVISED DRUM SET
KICK AND SNARE
WITH HIGH HAT
WHAT BEAT AM I CLAPPING ON?
Learning to hear beats is an important aspect of learning to play any instrument,especially the drum kit.
Does the kick drum happen on 1 and 3? Or 1 and the “and”of 3? These kinds of things are easy to hear
after doing an exercise that reallypoints our attention in that direction!
Have the class manufacture this back beat using their right foot for the kick drumand left hand hitting their
left leg as the snare. You can have them put a piece ofpaper on their lap to make a brighter “snare”
sound if you prefer...
While everyone continues making the beat, clap in various places and have everyone answer together
where they hear it. Several examples are below, clap where yousee the arrow!
WHAT NOTE NUMBER DO I HEAR?
Bass lines can be easy to hear after we’re used to the way the notes sound as numbers.
To get students used to hearing that play a short scale while everyone sings the numbers of the
notes, then pick random notes and have the group answer together what they’re hearing.
HIGH G
D
A
LOW E
3
2
O
3
O
sing: one two three four five
play...
Gx
x
Open
x
...everyone says
“one!”
play...
play...
x
o
A
x x
...everyone says
“two!”
Open
x
x
D
o x
...everyone says
“five!”
Be mindful to not progress faster than their ability to hear what you’re doing. Play enough of just
the first and second notes to make sure everyone can hear that easily before moving on to include
another new note. This is a great and fun warm up exercise that quickly trains the ear!
KICK AND SNARE BINGO SHEET 1
+
2
+
1
1
2
+
2
2
+
1
1
2
+
1
+
+
+
+
+
3
3
3
3
3
+
+
+
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4
4
4
4
4
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+
+
+
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2
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1
1
2
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1
2
2
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1
1
2
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+
+
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3
3
3
3
3
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4
4
4
4
4
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1
2
2
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2
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1
1
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1
1
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3
3
3
3
3
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4
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4
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4
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2
2
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1
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1
1
1
1
BASS BINGO SHEET 1
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3
3
3
3
3
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4
4
4
4
4
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1
2
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2
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1
1
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1
1
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3
3
3
3
3
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4
4
4
4
4
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2
2
2
2
2
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1
1
1
1
1
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+
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3
3
3
3
3
+
+
+
+
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4
4
4
4
4
+
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+
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2
2
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1
1
2
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2
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1
1
2
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1
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3
3
3
3
3
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4
4
4
4
4
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2
2
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1
1
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1
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1
1
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3
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1
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1
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BASS BINGO SHEET 2
2
2
2
2
2
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3
3
3
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3
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4
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3
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1
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BASS BINGO SHEET 3
2
2
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+
SWEET CHILD O’ MINE: UNLOCKING LEAD GUITAR
IN YOUR CLASSROOM by Scott Burstein
This session is designed for the teacher who is constantly being told by their students that they are ‘sick of just using the pentatonic
scale’. Expanding ones knowledge of scales and lead guitar tricks can really help with your guitar credibility in the classroom. We
will start by taking a basic jam session and kicking it up a notch, piece by piece, showing how simple building blocks can spice up
ones lead playing. There will be a comparison of the traditional pentatonic, blues scale, and Dorian mode for soling in different situations, as well as a basic look at the other modes and box forms. Techniques and exercises for various lead skills such as hammerons, pull-offs, bends, tapping, and sweep-picking will be looked at as well. Finally, we will discuss how to move between different
forms of the pentatonic scale as well as the modes.
1. SCALE THEORIES
a. Choose your scales wisely
i. There are many possible scales to use when soloing,
and each gives a different sound and feel
ii. Each scale can be played in multiple positions as well,
some easier to finger on the fretboard then others
iii. For instance, over a basic minor chord, one could
use the minor pentatonic in 5 shapes on the neck,
the blues scale, the natural minor scale in its 7 positions, the harmonic minor scale, the melodic minor
scale, or the Dorian and its 7 positions. Each will
bring something different to the solo, for instance, the
harmonic minor will sound more exotic, the natural
minor more melancholy, the blues scale more …
bluesy.
b. Pentatonic scale – Minor and Major
i. The pentatonic is the most used and versatile for
soloing in popular music. Students often get bored
of using it, but they typically have just touched the
surface of its possibilities
ii. Moving between forms of the scale can open up
more of the neck. For instance, when playing A minor pentatonic (A-C-D-E-G), you would start on the
second note (C-D-E-G-A).
iii. When practicing a new form, start by playing it independently, then when it is comfortable and memorized, try to combine it with the previous form.
iv. Note that starting the minor pentatonic on the second note actually just means you are using the major
pentatonic!
v. One of the best uses of the pentatonic is to sound
bluesy off of a Dominant 7 chord, for instance in the
blues. Over A7 in a shuffle, you can use either major
or minor pentatonic for different sounds!
vi. Keep in mind the blues scale is really just a variation on the minor pentatonic, with a note stuck in
between the 4th and 5th (D – D# - E in A minor)
c. Diatonic Scales – Modes
i. The Major scale (Lets use G Major, G, A, B, C, D, E, F#,
G) is one of the diatonic scales, which simply means
a scale where all of the notes fit without having to
make changes. Once I add an outside note (like
adding a A# on occasion to a G major scale) I am
no longer playing diatonically.
ii. The Major scale is also a mode (Ionian), and starting
XXXVI © Little Kids Rock 2013
the same scale on a different note will yield the other
notes:
1. Major (G – A – B – C – D – E – F#)
2. Dorian (A – B – C – D – E – F# - G)
3. Phrygian (B – C – D – E – F# - G – A)
4. Lydian (C – D – E – F# - G – A – B)
5. Mixolydian (D – E – F# - G – A – B – C)
6. Aeolian, also known as natural minor (E – F# - G
– A – B – C – D)
7. Locrian (F# - G – A – B – C – D – E)
iii. Each mode has a different flavor, but keep in mind
that you can use the C Lydian mode when soloing
over G major…they are the exact same notes
iv. Learning all 7 modes is a handful, but for motivated
players, it will unlock the whole neck and a world of
musical possibilities.
v. I recommend beginning with just the G scale, and
after the students are comfortable with it, move onto
the Dorian. When they have mastered Dorian, spend
time moving between the two scales so they instead
feel like on larger scale
d. Exercises
i. Practice each scale until memorized, then forget the
scale ever existed, now it is just a bunch of notes at
your disposal. Scales are like the alphabet. We can
go a,b,c,d,e,f,g… all the time, but to make words, we
have to mix those letters up (I don’t know anyone
called ABCD). The same is true with solos.
ii. I like to have my students play each note of the scale
ascending and descending 4 times, then 2, then 1,
then double time, and then double-time again. By
that point, they should have the scale memorized
within a day or two.
iii. Have them then play the scale in different patters –
Skipping thirds (A – C – B – D – C – E…), up two
steps and back one (A – B – C – B – C – D – C – D
– E…), up three notes and back two (A – B – C – D
– B – C – D – E…). These are good for technique as
well as used all the time in solos.
2. LEAD GUITAR TECHNIQUES
a. Hammer-ons and Pull-offs
i. The shredder’s best friend. One of the best ways to
improve technique and sound super fast without playing as much
(CONTINUED)
ii. Simply hammer on from the first note to the second,
in otherwords, pick only the first, and get the next to
sound by just using the left hand finger.
iii. Pull-offs are the opposite, just pull from one finger
to the other. Make sure both fingers are on the frets
before you start, unless you want to pull to an open
note. And note it is called the pull-off, not the lift-off!
iv. Practice the scales with these, I like particularly to
use the G major box form, so you play the note on
the 6th string, 3rd fret and then hammer on the fifth
and then 7th.
b. Bends
i. Bends are super important for creating new sounds,
but you must bend to specific notes, not just general
bending.
ii. For instance, if you are using the A minor pentatonic
(A – C – D – E – G), a good bend will go from say the
D to E or C to D. Many immature benders will bend
either not far enough (from C to C#) or will bend a
full step to a note not in the scale (say A to B). Bends
need to be practiced to keep in tune!
iii. Double-stop bends are a great sound, try holding
one note on a string and bending a note on another.
For instance, to get a nice unison, hold 5th fret on
string 1 and at the same time play 8th fret on string
2, and slowly bend the 8th fret until the note matches
the first string note.
c. Tapping
i. Tapping sounds amazing, looks really difficult, but is
pretty simple. It is mostly used to arpeggiate chords
like a piano in three note groupings, something not
very easy otherwise on the guitar
ii. Using your right hand fingers (either middle or
index) or the pick, hammer onto the string and then
pull off to another pitch (either open string or a fretted note)
iii. You can then either hammer-on or pull-off to another note, for instance an A minor arpeggio would
hammer onto the first string, 12th fret, and from
there pull-off to the fifth fret (held with the first finger, left hand) and then hammer-on the 8th fret with
the pinky. Repeat ad infinitum.
iv. It is easy to change a chord progression as well. Take
the previous example (Frets 12-5-8). If you move the
left hand down one fret (12–4–7) you now have an E
Major triad. Or move the right hand up one fret (135-8) a nd it is an F Major triad.
v. Try adding bends to the tapped notes for some real
fun!
d. Sweep-picking
i. Every time I go into a classroom that is middle or
high school, the students want to know if I can sweep© Little Kids Rock 2013
pick. Make sure you at least know how to teach it.
It is probably the most virtuosic technique on the
guitar (although not nearly as difficult as playing over
changes)
ii. Popularized by the early shred virtuosos such as
Yngwie Malmsteen, Steve Vai, and Jason Becker, it is a
way to play a ton of notes very fast.
iii. Using a basic arpeggio, the goal is to move the pick
like a broom, sweeping down the strings and back
up. It can use 3 strings up to 6, depending on the
difficulty.
iv. The most difficult aspect is making sure that you lift
the fingers of the left hand up after playing so the
notes don’t all ring together
3. MORE IS NOT BETTER!
a. I would rather hear a slow, thought out and melodic solo
any day over a torrent of technicality and notes. As would
most anyone.
b. Using the thickest strings can be a nice effect, but should
be used sparingly. Most soloing on strings 5 and 6 won’t
stand out as well with a full band, often getting lost in the
mix
c. Limit students to a few notes often, especially those that
use the whole scales and play too fast without much feel.
When they are limited to three notes, they often find great
patterns
d. Learn from the greats! Look at some of the famous
guitar solos and riffs in the canon to learn new ideas. David
Gilmour, Jimi Hendrix, the Allman Brothers, Kirk Hammett,
and Stevie Ray Vaughn are all goldmines for learning to use
simple scales (almost all pentatonic or a diatonic major/minor) melodically and with a ton of feel.
NOTES
ROCKFEST Module Book XXXVII
WHILE MY GUITAR GENTLY WEEPS: INTERMEDIATE
AND ADVANCED GUITAR MAINTENANCE FOR EVERYONE
by Rodney Dittmar
1) CLEANING THE GUITAR:
a) Guitar cleaning wipes or Guitar cleaning wipes work well
i) Best to use a natural oil-based polish (I prefer lemon
oil – just a few drops does a whole guitar, so a bottle
lasts literally years)
(1) Wax-based polishes not recommended on lacquered finishes
(2) Don’t
use spray cleaners
b) Strings must be cleaned regularly. A paper towel or
dry rag after each class works wonders!
i) You can use String Wipes (such as Ernie Ball),
String products such as Fast Fret or Fingerease,
or lens cleaning wipes, or simply a rag with a little
alcohol or oil. Baby wipes: not recommended
because of the water in them
ii) Make sure you clean all edges of the fret wires
when cleaning the fret board
2) RESTRINGING NYLON ACOUSTICS:
a) Nylon: clip off any loosely wound string end
b) Insert string from the side facing the peghead
c) Wrap end of string around itself three times and pull taut
d) Insert end into tuner barrel and tie a single knot
i) Make sure to turn pegs so that strings wind from the
top of the barrel
e) H
old while tightening to ensure straightness of string in
relation to nut
3) RESTRINGING STEEL-STRING ACOUSTICS
a) Put ball end into guitar and insert saddle peg with groove
facing peg head; push down peg and pull string until taut
i) Leave enough excess to get at least three winds
around post
b) Always turn pegs so that strings wind from the inside
i) Make sure each successive wind is under the previous
c) Hold while tightening to ensure straightness of string in
relation to nut
d) Clip excess (or wind around itself if no string trimmer
available)
4) RESTRINGING ELECTRICS
a) Insert string from end and pull toward peg head
b) Back-entry stringing (e.g. Fender electrics) – insert string
from back and pull all the way up before attaching to tuning pegs
5) R
EPLACING NUTS AND BRIDGES: Most mass-produced brands
have “drop-in” replacement nuts and acoustic bridge pieces
a) Make sure any old glue is scraped off under the nut
i) Replace and glue – super glue will work on most
classroom guitars; hot glue also possible
b) Beginner model electrics are often not glued, just held in
XXXVII © Little Kids Rock 2013
place by string pressure
6) WARPED OR BOWING GUITAR NECK
a) The three signs to check your neck: string buzzing, uncomfortable playing height at the middle frets, and bad intonation up the neck when the guitar is in tune
b) You can purchase notched straightedges in various scales
lengths (luthiers’ tools) at music stores or guitar parts
websites to check for neck straightness – lay across the
frets to check for warp (back-bow) or bow, or use a regular straightedge
c) Another way: press strings simultaneously at the 1st and
14th fret (you can capo the 1st fret if need be). Check the
height above the 7th fret. There should be a little “relief”
at the 7th fret; about .005 to .015 in. (.13 to .38 mm) from
the string to the fret wire. You can use an automotive
feeler gauge or just a business card – if it slides in between
the string and the fret wire; you’re good; if you see too
much daylight, the neck is bowed. If there is no clearance
or if the strings are closer to the middle frets than the 1st,
then the neck is back-bowed
d) If there is too much space at the 7th fret, tighten the
truss rod (clockwise) using the wrench that came with
the guitar ¼ turn at a time until straight; if truss rod will
no longer turn and neck is still bowed, then take it to a
professional
e) If the neck is back-bowed, loosen the truss rod (counterclockwise) ¼ turn at a time until neck is straight
7) GLUING NECK JOINTS
a) If the fret board is not broken: apply super glue to
one side; hold together tightly, and apply super glue
accelerator if you wish. You may also use good wood
glue and a clamp, but it takes longer to dry and super
glue will usually fix a crack at the neck
b) If the neck is completely broken, consult a professional
8) GLUING SEPARATED TOPS
a) Apply glue to the side bracing and edge (good quality
wood glue recommended, super glue may work for minor
pulls)
b) Push top into body (you will hear it set in)
c) Clamp until dry (or use good quality painter’s tape) d) Re-string
9) TROUBLESHOOTING ELECTRONICS
a) Crackling sound or intermittent signal:
i) If the sound cuts out when you wiggle the cable, then
either you have a bad cable, or a loose jack wire
ii) Always test with another cable, and if possible, another amplifier
iii) Make sure the hex nuts on the volume and tone
(CONTINUED)
knobs (called pots, short for potentiometers) and
jack are tight. You can use a socket wrench for this,
or there is a guitar wrench for this purpose
b) If you hear a crackling noise when turning your knobs or
a reduction in sound:
i) There may be dust or some other matter in one of
the pots (short for potentiometers, the parts used to
make volume and tone controls), or the pot may have
come loose
ii) Tighten the hex nut holding the pot if loose. Turn the
knob a few times, and if it is still crackling, use spray
contact cleaner on the area of the pot by the lugs
iii) The metal prong of the jack may just need to be bent
back into place (no soldering required)
c) If there is no sound:
i) If your guitar has a battery (preamp for electrics or
acoustic/electrics), check that first
ii) If your guitar has no battery, or the battery is good,
then check the jack and pots to see if one or more
wires have come completely loose (this is common
when the hex nuts holding the pots or jacks become
loose)
iii) If the wire connections all look OK, then there probably is a pot, switch, or other part that needs replacing. Take it to a professional
10) S OLDERING JACK WIRES
a) Use a low-wattage soldering iron (30 to 45 watts), not a
soldering gun
b) Make sure the tip of the iron is clean. Heat the iron, then
quickly wipe with a damp sponge
c) Make sure there is enough exposed wire on the wire to
be soldered. Use a wire stripper if needed
d) Make sure the lug is free from extra solder from the old
joint by heating it and cleaning if necessary
e) H
old the wire against the lug
f) Heat the parts, and then apply the solder with the iron still
in place. Hold while the solder dries very quickly. This will
protect against a “cold joint” (bad connection with black
spots)
g) A good solder joint will appear shiny and the wire will be
held firmly into place
a) Secure the pot or jack from the inside (some jacks have a
hole to secure them from the outside)
b) Finger-tighten the hex nut as much as possible
c) Tighten the hex nut with a wrench (or pliers, if need be),
making sure the part does not rotate (this will break the
wires)
13) REPLACING KNOBS:
a) Most lower-end electrics have plastic knobs that simply
pop on and off (easy, but they wear out). Turn the pot all
the way down, then push the knob on with the number “0”
where you need it, if numbered
b) Metal knobs usually have a set screw to hold them in
place. These will loosen over time, but just require tightening back
14) SUGGESTED TOOLS:
a) Stringwinder (several brands have the cutter and acoustic
pin puller combined in this tool) or stringwinder drill bit
(major timesaver)
b) Low-wattage soldering iron (can be purchased at Radio
Shack or similar store; the quick-cooling type or “cold heat”
soldering iron can be purchased online)
c) Small wrench set or socket wrench set (common hex nut
sizes are 1/2”, 7/16”, and 12mm) or a specialized tool such as
a GrooveTech Jack and Pot Wrench or a JackTight
d) Miscellaneous Tools: 60/40 rosin core solder, Wire cutters,
Wire strippers, Allen wrench set (standard and metric),
Screwdriver set, Needle-nose pliers, Super Glue, Clamps for
acoustic body, Straightedge (the notched straightedges for
guitars can be purchased online in various scale lengths, but
they are an investment), Blade-type feeler gauges (automotive gauges) to check string height
NOTES
11) SOLDERING
POT WIRES
a) The “hot” wire usually is connected from the middle lug
of the pot to the lug connected to the prong of the jack.
Check the connections, and repair as above if needed
b) The “ground” wire is usually soldered to the back of the
pot, and connected to the jack lug in the center ring of the
jack
12) TIGHTENING POTS AND JACKS:
ROCKFEST Module Book XXXIX
COME TOGETHER:
HOW TO RUN A SUCCESSFUL JAM SESSION
1) THE JAR – ENVIRONMENT
a) Casual free play.
b) Build a stage set if possible.
i) (One corner of my room is the rock band
set-up)
c) Everyone is welcome and has something to
contribute, everyone.
d) B
uild each other up, keep it positive.
2) INGREDIENTS– “GET YOUR THEORY HAT ON”
a) Riff creation – grab a couple of tones from the
pentatonic scale and create a pattern that you
can repeat again and again. (consider demonstrating for your students)
i) By creating a riff myself I build my students
vocabulary
ii) Encourage their creation and learn from
them, build more vocabulary.
iii) Borrow riffs from songs! It’s not stealing, it’s
borrowing, it’s flattering.
iv) Start small – a single chord with a groove
and or a simple riff, something old or something new. Play it and play it. Give students
enough time to get it under their skin and
they’ll start to play with it.
b) Play that funky music till you…… can’t stand it
anymore.
i) What seems like a long time to you is what
your students need in order to achieve a
mastery that will allow them to improvise
within the tonal structure of the given lick or
riff.
by Dann Shea
iv) Elongate the first part, let it ring
b) Change your amp settings, drive/clean (what did
it do?)
c) Work in a change go to the minor 2 or the V
of the simple chord, or imagine your chord was
the V and visit minor 2 and or the 1. i) How did it change the riff?
ii) Does it still sound good?
d) Soloing inside the pentatonic scale should be a
natural progression.
i) Each person should be allowed an opportunity to express.
ii) You may need to manage this a little. Who’s
on first? What’s on second?
4) P
RESERVING THE JAM
a) Some tunes require signature riffs to be played
throughout the song, others are laden with riffs
to create the groove and tonal backing. Use
your Jam sessions to learn these ahead of trying
to put the tune together.
i) By taking solos in the jam session based on
the riff and scale, soloing in the song should
be…. familiar.
ii) Reinforce greatness – greatness = playing/
contributing
5) S PREADING THE JAM
a) Two great songs to Jam on: (great riffs)
i) Sixteen Saltines by: Jack White
ii) I Heard it Through The Grape Vine by: Norman Whitfield and Barrett Strong
3) S TIRRING THE JAM
a) Getting them to improvise their own – after
a student has played the riff for many minutes.
They can begin to manipulate it, go somewhere
else and come back. Invite them to do this.
Show them how.
i) Variation
ii) Keep the rhythm the same, change a pitch
or two.
iii) Keep the pitch and change up the rhythm.
XL
(CONTINUED)
NOTES
XLI
EVERY BREATH YOU TAKE:
LITTLE KIDS ROCK VOCALS by Chuck Speicher
Singing gives our students an opportunity to use their voices to hear tuning, note relationships, and rhythms. It is considered such
a fundamental aspect of musicianship that everyone attending college for music has to spend time in singing in vocal groups. Singing is also something that turns a lot of “would be” musicians away from studying music because of the way they judge themselves
or have been judged. Because our voices come directly from us it is the instrument associated with the most personal feelings. We
have the opportunity to help our students enjoy singing, to find their OWN voices, and to have fun in the process!
1) VOCAL WARM UPS
a) Getting students to use their voices while having fun with
each other during a warm up exercise is a great way to
get them all singing and experimenting without taking
themselves too seriously.
i) Be sensitive to do all of this as a group without
singling any one student out—this can do irreparable
damage to their self concept and willingness to participate.
ii) In general people fear public speaking more than
death, and the idea of being singled out to sing in
front of our peers is on par with that!
2) UP AND DOWN STORY
a) Use this “story” as a way to warm up the voice and encourage creative participation. Students love participating
in the fun that this encourages. Imitate a little man walking
on your hand using your fingers (let your fingers do the
walking) while having everyone make vocal walking noises
or background music (do da do da do, etc).
i) The man gets to an elevator and goes up to the top
floor—everyone makes a vocal sweep sliding from the
lowest note in their register to the highest. When he
reaches the top floor the man jumps out the window with a parachute on his back—everyone makes
a vocal sweep sound from the highest note in their
register to the lowest. Then as the class “What can we
add to this story? Give me something that happens
to the man and a sound to go along with it!” Maybe
a student says “He steps on a rotten tomato on his
way to the elevator—splat!” Then you retell the same
story again with the same vocal sounds intact adding
the new element and it’s sound effect. Continue adding until you’ve got five or six new sounds.
3) CREATING WARM UPS FROM SONGS
a) A good idea for a vocal warm up is to take a fragment of
melody from a song you’re working on in class or a favorite from a student suggestion (see lesson plan “Rock and
Roll Vocal Warm Ups”).
i) Think of “Diamonds” by Rhianna. While she sings
“Shine bright like and diamond” she is singing up
and down the interval of a 5th, making an excellent
vocal warm up out of material our students identify
with. Or the first couple notes of Adele’s “Rolling in
the Deep” while she’s singing “There’s a fire”. This is
a great blues scale based warm up that once again
XLII
comes directly out of music the students are listening
to.
ii) On different days you can ask for suggestions from
the class and listen together for something to use as
a warm up, taking whatever fragment of melody you
decide and moving it up chromatically through the
range of your singers.
4) MORE TRADITIONAL WARM UPS
a) There is an episode of “The Osbournes” where Ozzy
Osbourne is warming up for a concert with a vocal coach
like he’s about to sing in an opera. The warm up is very
traditional, like would be used for any choir. These warm
ups are great because of the way they train the ear while
exercising the voice and giving us an opportunity to focus
on our breathing habits.
i) We can capitalize further with the traditional warm up
idea by using notes from pitch collections we would
use to improvise with on an instrument, or harmonizing triads together.
(1) For example, the notes in a pentatonic warm up
might look like this:
g
g
C
1
A
G
D
+
G
E
E
2
+
+
3
4
D
+
C
1
(2) While the notes in a blues scale warm up might
look like this:
C
1
b
B
G
+
a
b
G
2
F
+
b
E
C
a
3
b) Using voices to build the triad is a great idea
too. Simply divide your class into three sections
having one group sing the root, the second group
sing the 3rd and the last group sing the 5th (see
lesson plan “Vocal Chords”).
i) Be sure to step up to each chord tone
using your guitar or keyboard as you lead
this warm up to train the ear to hear the
relationships. This type of warm up can help
make singers aware of which note a melody
begins on when they hear the bass or chord.
(CONTINUED)
g
moving on to the next student. Eventually students
are invited to lead the call and response. This exercise
is fun, encourages silliness, and meanwhile encourages
focused listening and timing.
ii) A “traditional” warm up with a twist is outlined in the Berklee Press vocal book called
“Vocal Workouts for the Contemporary
Singer”. In it they take a typical major scale
pattern and sing it with syncopations.
1
E
D
C
+
2
+
3
+
4
+
1
+
B
A
G
F
2
+
3
+
4
C
C
+
1
(a) This type of warm up helps our singers
become aware of beat position as they
sing. Using good warm ups that heighten musical awareness will soon make
the old singers joke obsolete: How do
you know when there is a singer at
your door? They can’t find the key and
have no idea when to come in!
5) SINGING WITHOUT DAMAGING THE VOICE
a) In “The Rock and Roll Singers Survival Manual” the author
talks about the difference between the muscles we use to
swallow and the muscles we use to yawn.
i) If we pay attention to where our adam’s apple is while
doing these two things we notice a drastically different use of muscles.
ii) Swallowing imitates the kind of muscular tension that
happens when we sing high notes, tightening up to
have more control over the voice. The fact is we want
to do the opposite, remaining relaxed in our throat
muscles while reaching higher pitches. This is greatly
helped along by understanding how to use the effortless power involved in good breathing techniques.
6) LINKING VOCALS TO GUITAR
a) Call and Response Using New Chords
i) Lynette Edwards in New York City is one of our
teachers who uses an outstanding in teaching new
chords and associating them with the voice. When
her class is learning the A chord, she has everyone get
used to playing that chord as a group while keeping
time with each other using a strum pattern. Then she
does the “call” singing something like “I am playing a
A, A A A all day”. She improvises a bluesy sounding
melody while she sings whatever words she makes up.
Then she motions to one of the students in her group
to do the “response”. They sing back to her using
their own improvised melody “This is how I play, A
today all day” or whatever words they make up. Each
time she praises each improvisation while everyone
continues keeping time with the strum pattern before
7) VOCAL TABLATURE
a) Mark Hale in Nashville uses a technique with his kids
that links reading guitar TAB with vocalizing melodies. For
younger children a song like in the style of “Rain Rain Go
Away” may be a great starting point
HIGH E
B
G
D
A
LOW E
3
O
3
O
3
3
3
O
5
3
3
O
i) First have the kids sing the melody as a group. Then introduce the tablature, having them sing as they play.
ii) Another melody that works great for this but uses
more of the fret board is in the style of “We Will
Rock You” by Queen
HIGH E
B
G
D
A
LOW E
8
7
5
3
5
5
iii) Singing and playing this melody while other students
are strumming the A chord quickly trains the ear to
hear the “blues notes” that make it work.
8) ONGOING ENCOURAGEMENT
a) Our students (and ourselves) thrive from the faith others
have in us. No one or nothing exists in isolation, and many
an incredible success story came on the heels of knowing
someone had faith in their ability.
i) John Flora, a Little Kids Rock teacher in Jersey City,
New Jersey says that one of the most important
things he gives his singers as a teacher is his encouragement. He especially focuses his positive attention
on a student who is finding “their own” voice, as each
one of us is different and beautiful in our own individual way. He also points out as mentioned earlier
never to single students out but instead to have them
sing in groups. People who want to sing solos will let
us know as they become more comfortable in the
group.
ROCKFEST Module Book XLIII
SMELLS LIKE TEEN SPIRIT: STAGE PRESENCE FOR
YOUR ROCKSTARS by Scott Burstein
As a Little Kids Rock Regional Program Director and
they are moving and expressing much more
former LKR teacher, I get to see a lot of student perthan they actually are
formances, and there is better then watching an amaza. Students can be video taped and then
ing group not only play well but also light up the stage.
asked to be reflective on the stage presStage presence is arguably more important then the
ence piece. You may consider turning the
actual music itself, since no matter how well your
sound off!
students play, if they aren’t fun to watch, they won’t be
b. Students can be provided with a rubric
nearly as effective. This session will focus on not only
of stage presence elements (further exdifferent ways to spice up their stage show, but also
plored below) and give each other conhow to convince them and motivate them to step up
structive feedback as bands/groups perand get crazy on stage. And the best way to do that is
form.
to have a teacher, who is willing to do it as well, so be
prepared to strut your stuff and rock out!
III. WAYS TO SPICE UP A STAGE SHOW
A. Provide students with a list of stage presence
I. WHY STAGE PRESENCE IS SO IMPORTANT
techniques/exercises:
A. Today’s average audience member is more visual
1. Sliding across the stage on your knees durthan aural
ing a solo, singer moves around the stage,
B. Playing live includes hearing and SEEING a perband members interact & get in each others
formance
faces, choreographed movement (not show
C. Adds the elements of fun, confidence, & expreschoir… it can be standing the same and
sion
head-banging at the same time during a speD. Makes the performance memorable
cific part of the song), specific hand move1. Compare videos of student performance
ments that reflect the lyrics, jumping, facial
(preferably the same tune) w
ith and without
expression that will vary from song to song,
stage presence
story arch build that matches the song
2. Ask workshop participants to share their
2. Singers are key: if they don’t move with the
own experiences with a partner & then call
mic on the mic stand, then take away the
on a couple individuals to share what was
mic stand.
discussed
3. Workshop participants add to this list here:
a. These activities can be done with stua. Have students all practice in a circle spedents
cific movements, maybe to a video where
they copy a popular artist’s movements etc.
II. WHY DO STUDENTS WILL TEND TO AVOID ADDB. Make it worth a grade. SAMPLE RUBRIC
ING STAGE PRESENCE?
Students may argue that there is a lack of
A. Students are either uncomfortable, afraid of
authenticity in this process but one can
looking dumb, or think they will “bring it” at the
argue that you are trying to develop skills
time of the performance
within the confines of an exercise and they
B. Students need to understand that it is a skill
may do whatever they may choose to use
that is outside of playing/singing and that it NEEDS
it or lose it in their own artistic endeavors
to be PRACTICED— its something that most
people start off as pretty bad at, but with practice,
get better and better at.
1. Students (especially Middle school) think
XLIV © Little Kids Rock 2013
(CONTINUED)
IV. IF YOU DON’T DO IT, THEY WON’T EITHER!
A. Remember, they learn from what they see. If you
are too embarrassed to get up and make a fool of
yourself on stage, they will definitely not do it.
NOTES
XLV
WHIP IT: CLASSROOM MANAGEMENT FOR THE
MODERN BAND CLASSROOM by Chuck Speicher
Primary Objective: This is all about relationships; creating an environment where our students know we care
about them and stand for the way music reaches each one of them as individuals. We have an opportunity
with each life we overlap with to make the world a more beautiful place. Taking on that responsibility turns
classroom management into a mere extension of our love.
1) INSTRUMENT CARE AND MAINTENANCE
a) It’s up to us as teachers to make sure students
understand how to treat the delicate instruments we’re giving them access to. A cracked
neck on a guitar or a keyboard with stuck notes
can put those instruments out of reach to students who could otherwise benefit from using
them. (see handout “Caring For Modern Band
Instruments”)
2) M
ANAGING SOUND
a) Having a room full of kids with instruments
in their hands requires different “rules of engagement” than teaching a regular class. In this
section we’re going to talk about strategies for
setting up expectations with students so that
they know when to “silence” their guitars, how
to safeguard them from the temptation of noodling on a keyboard while you’re trying to teach
something new, and ultimately how to preserve
your voice with techniques for a noisy environment.
i) Having the greatest lesson plan in the world
becomes irrelevant if no one can hear us!
(See lesson plan “Holding the Guitar”)
3) S WITCHING INSTRUMENTS
a) A really fun opportunity for music students in
the Little Kids Rock classroom is being able to
switch instruments. This helps students in seeing
music as language.
i) When a guitar player has to keep steady 8th
notes on a drum set or percussion instrument his strum patterns get better; when a
drummer learns to play bass he understands
how to listen for that instrument in the way
he uses the kick drum, etc.
ii) When a person learns to speak a 2nd, 3rd,
and 4th language they increasingly become
XLVI © Little Kids Rock 2013
better at understanding and using language.
The same is true in musical instruments.
For the most part students will prefer one
instrument over the other and choose to
develop the one they love playing most, but
having a basic awareness of being able to use
other instruments makes musicianship better and more fun.
iii) It also can increase a student’s self image
by illuminating potential he was unaware he
had! Having strategies to facilitate jamming
on different instruments can make this a really fun part of a class or curriculum.
4) STRATEGIC TEACHING
a) Peer to Peer Instruction
i) Here is an opportunity that goes largely
untapped in many music classrooms. Having
students help each other, assigning kids to
work in small groups, and assigning group
leaders are all strategies for effective teaching that can be transformative.
(1) In this kind of setting different personalities have an opportunity to express themselves that they otherwise
wouldn’t. Students with “alpha” personalities suddenly find more constructive
opportunities to express themselves
with assigned roles and responsibilities,
etc.
5) M
USICAL KARATE
a) Extrinsic goals can make the intrinsic process of
music more fun for some students. The “Recorder Karate” curriculum idea exists all over
the place in different forms as implemented by
different teachers.
i) Belt colors can be assigned to different
levels of achievement or completion and
(CONTINUED)
can be put on a “rock and roll” ID badge or
nametag. Some teachers use level names that
come from video games like rookie, novice,
expert, and professional.
ii) Others use visible classroom incentives like
being allowing kids to sign their name to a
poster of Jimmy Hendrix or a favorite band
that hangs in class.
NOTES
6) P
OSITIVE APPROACHES TO NEGATIVE BEHAVIOR
a) A behavior problem in class can ruin the atmosphere of the class and derail a good lesson plan.
Learning to manage behavior problems positively builds trust among all students in a class.
i) This may be the most difficult area of classroom management, but one of the most
significant for students who grow profoundly
by our insistence on mutual respect and an
individual’s dignity. By paying attention to
meaningful communication, diffusing power
struggles, and building on strengths instead
of weakness we teach students how to hold
themselves accountable with their self-respect intact.
7) RESOURCES
a) “Stand and Deliver”, a 1988 movie about math
teacher Jaime Escalante
b) “Marva Collins’ Way” a book by legendary
teacher and founder of Westside Preparatory
School in Chicago
c) “The Freedom Writers Diary” by Erin Gruwell
d) “Freedom Writers” movie 2007
e) “Music of the Heart” Movie 1999
f) Music, Informal Learning and the School: A New
Classroom Pedagogy by Lucy Green
g) Howard Glasser “Transforming the Difficult
Child”
h) Lee Canter “Assertive Discipline”
i) Kagan Books on cooperative learing
ROCKFEST Module Book XLVII
WALK THIS WAY: HOW TO GET GIGS, RAISE FUNDS,
AND INVOLVE COMMUNITY by Greg Pavliv
1) THE GIG
a) What: Opportunity to perform
i) Performance is the ultimate goal of learning
music
b) Where: At your school
i) A gig at your school is still a gig
c) When: During other events or Stand alone
i) Perform at pep rally’s, graduation, PTA
meetings, Board meetings, Faculty meetings,
before or after school, in between classes
and other special events
ii) Schedule a time to have a gig at your school
(long enough for a mini-set of one to three
songs)
(1) This is a great way to get beginning students ready for a larger performance
(2) It
can also be a “dress rehearsal” of a
larger performance so that songs and
audio could be tweaked before the big
show
d) H
ow: Just ask, Just do it, Rock on! If you don’t
ask, it will never happen.
i) BRAINSTORM ACTIVITY: HOW CAN YOU
START?
ii) Student workshops
iii) Festival atmosphere
iv) Logistics (19 schools performed at 2013
Summit)
v) Refreshments and food
vi) LKR Involvement (guests and giveaways)
vii) Press
4) S TANDARD FUNDRAISING
a) While this model is the easiest, it typically produces the least amount of donations for your
program due to, at best, a 50/50 split of funding
raised
b) This is best if a third party, such as a parent
organization, wants to raise funds to donate to
your program
5) A NEW WAY TO FUNDRAISE
a) Have student’s “write” their own songs
b) Record the students in class
c) Burn to a CD
d) Cover ides?
e) Sell to raise money
f) BRAINSTORM ACTIVITY: WHAT ARE THE
BENEFITS AND PITFALLS?
2) P
ERFORMING OUTSIDE OF SCHOOL
a) Connections between students and local busi6) ASK!
nesses
a) The truth about your principal and their budget
i) Talk with students to see if anyone has
b) A
sk a local business to sponsor the band
parents or close relatives who own a busic) School and Parent Groups
ness that would allow students to perform (a
d) Little Kids Rock Capacity Building
store, a corporation for a lunch performance,
e) DonorsChoose.org
etc.)
b) Approaching Local Businesses
i) Coffee Shop
ii) Restaurant
iii) Park
iv) Festival or Community Event
v) … IS their a limit?
3) THE JAM SUMMIT
a) Dallas Model
i) Full day event
XLVIII © Little Kids Rock 2013
(CONTINUED)
NOTES
ROCKFEST Module Book XLIX
THE TIMES THEY ARE A CHANGIN: MUSIC TECHNOLOGY TO INCORPORATE IN YOUR PROGRAM
By Chuck Speicher & Anthony DiMasso
1) USING EFFECTS
a) R
everb—Sounds like you’re in a stone house
b) Delay—An echo, repeating the same sound at a
quieter level
c) Distortion—The sound is overdriven, like water
spraying out the end of a firehose
d) Phaser/Flanger—Similar to singing a note while
slowly making your mouth open and wide and then
thin and small
e) Amp and Pickup Simulators—Electronically simulating the kinds of sounds you get from certain types of
guitar amplifiers or electric guitar pickups
2) MICROPHONE BASICS
a) C
ardioid microphones are the types we see singers
use on stage. They’re great because the pick up what
they are aimed at, while reducing the sound of other
things.
i) You want to hear the singer, not someone yelling
from the side of the stage, etc.
b) Condensor microphones usually require “phantom
power” (a switch you have to turn on on your mixer
or PA system). They are the kind of microphone that
is super sensitive and will pick up a lot more sound
in the room.
i) They’re great for recording the sound of an entire band in a room.
3) MIXING BOARDS AND PA SYSTEMS
a) Todays compact PA System usually includes some
sort of a mixer and knowing your way around the
basics of that helps big time when it comes to getting
a good sound out of your band or making a recording sound good.
b) EQ: These are separate volumes for low, middle, and
high frequencies. Adjusting this for different instruments can give them a presence in the mix that we
otherwise may not hear as clearly.
i) S ometimes we want the “low” on our bass
turned up a little more, while the guitar has
more “high” in it’s sound. This allows these individual instruments to be heard without having to
adjust their volumes.
c) Gain: This is an extra volume dial that allows you
to increase the volume of an instrument or microphone that doesn’t have enough volume.
d) Phantom Power: Turn this switch on to supply
L
power to a condenser microphone.
e) Panning: This dial allows you to position your sound
within the stereo field. Maybe you want the piano
coming equally out of the left and right speakers,
while the lead singer is more in the left speaker and
backup singers more in the right.
f) Volume Sliders or Pots: Each individual input has it’s
own volume, and there is a master volume to control the entire mix. Sometimes an individual input is
a “stereo input” allowing you to connect both a left
and right input.
i) If you want a stereo input and one does not
exist you have to plug the left and right into two
separate inputs and pan the left input all the way
to the left and the right input all the way to the
right.
4) MANAGING RECORDING INPUT VOLUME
a) When input is too high we get unwanted distortion
or clipping, and when input is too low the recording
can have a background “hiss”.
i) Input volume is usually displayed with colored
light meters showing green for lower volumes,
orange for the peak volumes, and red for too
much input volume.
ii) When setting input volume you want things to
go into the orange, but never past that into the
red.
5) VIRTUAL INSTRUMENTS
a) This is an instrument library that can be controlled
using a keyboard plugged into the computer via USB.
Virtual instrument libraries are vast and super high
quality. Through them we can use anything from a
Steinway piano to a 12 string guitar.
i) Some virtual instruments include synthesizer
generators, allowing you to control the various
parameters of the sound, create original sounds,
etc. Other virtual instruments allow you to record and “map” your own sounds, like recording
notes of your kazoo and assigning those notes to
keyboard keys. Both possibilities provide incredible new opportunities in understanding and using
new sounds in our music!
6) SMARTPHONES, TABLETS, AND APPS
a) An incredible amount of music making can be done
(CONTINUED)
on a smartphone or a tablet.
i) U
sing an app like JamUp your cell phone can
become a state of the art guitar effects processor complete with a looper and tools for slowing
down recordings in your library.
ii) An app like GarageBand lets you instantly use
loops to assemble bass lines and drum beats into
jam tracks you can practice with, or record and
edit audio.
iii) There are tons of free apps that allow you to
play on a virtual keyboard even designing your
own sounds, as well as apps that allow you to
play on a full drum kit by tapping your fingers.
We would be unwise to dismiss these tools as
“tinkertoys”, when they can be creatively used
to help students take fun and enthusiastic first
steps into music making.
7) ONLINE RESOURCES
a) L KR Social Network
i) O
ne of the greatest opportunities for us in
our ongoing work as teachers is spending time
on “The Hang”. Seeing what kinds of ideas are
working in classrooms around the country can
have a profound impact on our ideas and finding
inspiring solutions to meet the enthusiasm of
our kids.
b) LKR Online Songbook
i) O
ur songbook is designed to give teachers
control over sorting and finding material to meet
their lesson planning ideas. Songs can be sorted
by number of chords, chord progression, genre,
etc.
c) Online Lessons
i) This section can be used to help understand
specific skills. In many cases both videos and print
materials are available here to help in planning
lessons, rounding out skills, or for students to use
in classrooms that have computers and internet
access.
8) AUDIOTOOL
a) Audiotool
i) An online DAW that models how a studio would
be patched together with physical cables. Use
loops, effects, and virtual instruments to create
original compositions and share them with an on
line community. Create an account and log on
from an computer to continue working on your
projects.
(1) http://www.audiotool.com
b) Soundation
i) A powerful on line music studio than can record,
effect, and edit audio. Also access and create with
600 free loops as well as onboard virtual instruments.
(1) http://soundation.com
c) ButtonBass
i) Another free online resource that includes
virtual, pianos, guitars, noise generating cubes,
drums, instrumentals, and mixers.
(1) http://www.buttonbass.com
d) VirtualDJ
i) Free downloadable DJ software. Allows students
to create mash ups of their favorite music. Excellent reinforcement for teaching BPM and BPM
matching.
(1) http://www.virtualdj.com/download/free.
html
e) SoundFlower
i) This software allows you to record audio being
played from the system. For example sent music
from iTunes,YouTube, the Tone Matrix, or Button
Bass into the microphone input of you recording
software.
(1) https://www.macupdate.com/app/
mac/14067/soundflower
f) SaveTube
i) How to save videos and or MP3’s using savetube.
(1) http://www.savetube.com
(a) Find a video that you’d like to download or save and copy the URL from
the address bar.
(b) Go to SaveTube.com and paste the
URL into the VID> field.
(c) Choose file type, vide, MP3, or Ringtone and click to save
(d) Choose option from below. For MP3’s
I use 128. Higher bit rates are higher
quality but take up more space. For the
videos I just pick what ever is the highest quality from the list.
LI
TIPTOE THROUGH THE TULIPS: UKULELE AND YOUR
LKR PROGRAM by Tony Corallo
Familiarize with the ukulele:
Strung like the top 4 strings of a guitar (baritone
uke) Tuned 5 frets up from a guitar (G C E A) for
tenor, concert, and soprano ukes 4th string tuned 1
octave higher (concert and soprano ukes) Use common guitar chord shapes (D=A, G=D, A=E, C=G, F=C,
Am=Em) Most chords can be played using all 4 strings
(easier to strum) Strum in the middle of the neck
without a pick 1st and 2nd strings are the 5th and 6th
strings on a guitar (for solos or riffs)
1) C
OMMON OPEN CHORD SHAPES CAN BE PLAYED
ON THE UKE
a) G for ukulele is the D shape guitar chord. Easy
keys for ukulele are G, A, C, and D.
Ao o
C
G
D o
o
o o o
c) D, G, A (Em, F#m, Bm)
D
2
2
2
3
2
o
Ao
G
o
1
2
2
1
2
2
2
3
/
/
/
/
/
/
/
/
/
/
Ao
o
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
d) A, D, E7, F#m (Bm,)
D
o
o
G
1
2
2
1
2
2
2
3
/
/
/
/
/
/
/
/
/
/
Ao
o
/
e) G6, D7, C (Em7, Am, C7)
D
1
1
o
2
o
o
G
1
3
2
2
1
2
2
2
3
b) Most chords are played using all four strings,
making strumming easier. The small neck width
allows young students to play without overstretching their fingers. Its simplicity makes it a
nice introductory instrument.
c) In standard tuning, the 1st and 2nd strings are
the same as the 5th and 6th strings of a guitar.
This allows for easier transfer of guitar riffs.
2) E
ASY CHORD PROGRESSIONS: a) C, F, G, Am (Dm, E7)
Ao o
C
G
o
o o o
D
o
1
1
2
2
2
3
/
/
/
/
2
2
3
/
/
/
/
/
/
D
o
/
/
/
/
/
/
/
/
/
/
/
b) G, C, D, Em (Am, Bm) o
C
G
o o o
1
2
2
3
/
LII
/
2
2
3
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
3) STRUMMING
a) Strumming on the ukulele is really easy using
the fingers.You can use a pick if you prefer, but
isn’t how the instrument is traditionally handled.
There are a couple of ways to strum with the
fingers and we’ll take a look at each!
i) Using only the thumb
(1) Because the thumb is so “fleshy”,
strumming with it can give us a quiet
intimate sound
ii) Using the Index Finger
(1) This is probably the most common way
to strum a Ukulele. With your index finger slightly rounded, alternate between
pointing it to the ground (down strum)
and pointing at your chest (up strum)
iii) Playing a Roll
(1) This is when you choose to make a
stronger sounding beat on a down
strum by using all of your fingers in a
row, resulting in a slightly longer and
(CONTINUED)
louder strum.
(2) Just
like a cymbal crash on a drum set,
use this at the beginning of a phrase or
new section.
iv) “Chunking”
(1) This is the equivalent of what is called
the “dead string hit” on the guitar. It
is hitting the muted strings usually on
beats 2 and 4 to imitate where the
snare would be in a drum beat.
NOTES
4) P
OPULAR SONGS
a) Rock and Roll Chords Medley
i) C F G F
ii) C G F G
iii) C C F G
b) Axis of Awesome Medley
i) C G Ami F
(1) (In
the style of Jason Mraz “I’m Yours”
and Train “Hey Soul Sister”)
c) Ice Cream Changes Medley
i) C Ami F G
d) S omewhere Over the Rainbow - Israel
Kamakawiwo’ole
5) SOLOING
a) Taking a solo on the Uke is similar to soloing
on the guitar. Although strumming is done using
fingers for the most part, soloing may project
better with a pick.
i) In C we can use the “open position” box
shape.
ii) Or we can use the “C Extension” which
uses the same notes and adds a cool little
“slide note”
6) YOUTUBE RESOURCES
a) How to Strum
i) http://www.youtube.com/watch?v=_pxb4FetTSo
b) How to Chunk
i) http://www.youtube.com/watch?v=O5yFj1RnRvQ
c) How to Play a Roll
i) http://www.youtube.com/watch?v=bYPdLGZAOs4
LIII
NOTES
LIV
NOTES
LV

G - Little Kids Rock

Transcription

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