Guitar Instructor notes for "Foundations" - a work in progress

[Mark Wein]

This is something I started a little while ago and will be adding to in the coming weeks as a way to help Guitar instructors be more effective in using “Foundations for Guitar” with their students. Its a work in progress... smi

1. For brand-new students who have never played guitar before I usually start them on pages 19-21 and get them playing open chords at the very beginning. There are a couple of reasons for this. The first is that the student will have to develop some new motor skills in order to play any chords so I have the student working on these chord shapes while we are going through the sections on music reading and rhythm. In a sense you will have two independent lesson plans going for the first few lessons as you drill the open chord exercises and teach the fundamentals on pages 6-17. The second is that we want the student playing music soon rather than later. There are plenty of “dry” exercises in the book and I try to supplement that information with complete songs that I have arranged to be simple enough for a student to play. Due to copyright issues I cannot publish those arrangements but a few song suggestions for you to use are “Brown Eyed Girl” by Van Morrison, “Take it Easy” by the Eagles and “Time of Your Life” by Green Day.

2. Every exercise in the book should be done with a metronome, and the students should have a metronome of their own to practice with! When we introduce reading rhythms to students on pages 17, 22, 54 and elsewhere in the book the student should be able to tap their foot with the metronome, count out loud and clap their hands for the rhythms in the exercises. Physically feeling the (mainly quarter note) pulse throughout a piece of music is vitally important and the best way to get a student feeling time consistently on the instrument is to have them be able to perform the rhythms OFF the instrument first.

3. I start students note reading in the 5th position because it makes it easier to learn the whole neck quicker if we start there. In many of the books I used as a beginning student I was started in the open position and I had a giant blind spot (like many of my early students) knowing the notes from the 4th fret to the 12th fret. If we learn to play in the center of the neck and learn how to find root notes when we learn the movable chord shapes then it will be easier to teach a student to read in the other sections of the neck. As students learn a new set of notes it really helps to have them put their finger on each note in an exercise and recite out loud the note names. Even as they play through an exercise I will have them name the notes as they play them or count out loud. It becomes very easy for a student to lose the identity of each note and reading becomes an exercise in rote repetition if the instructor does not insure that the student is remembering the note names. I have had students in the past be able to read in the entire 5th position and not have any idea what the notes are named. If they are aware of what the notes are then we can move them into other positions quickly…this even helps when learning theory, movable chord shapes or soloing. If they are not aware then they might as well be reading tab…


4. Please have them work through the exercises with the recommended fingerings first! On page 28 we are playing both the “B” and “C” notes with the first finger and the “D” with the 3rd finger on purpose. I want the student getting used to moving their hand in and out of a position WITHOUT looking at what they are playing…try to have them reading from the page and not watching their hands. I know that the page can just as easily be played in the 4th position with the 1st, 2nd and 4th fingers but I am trying to build technique without making a big deal about it. In other places I have recommended fingerings because I am trying to demonstrate how to get from one position to another in the most efficient manner. In the real world we use whatever fingerings work easiest for us but I am trying to demonstrate some ways that work more efficiently than what a 1st year guitar student will come up with off the top of their head.

5. All of the eighth note strumming should be played either strictly alternating or strictly “downstroke” unless otherwise noted. Single note exercises should all be picked alternating with the down pick on the “downbeat” and the up pick on the “upbeat”, mirroring the foots motion. We are trying to build a memory of how it feels to play time correctly. If we reinforce these structures then even when they run into a musical situation that does not follow these rules they will be able to play the time more accurately.

[Mark Wein]

Here are a couple of "helper lessons" I made for some of the more important sections of the book...

Time and Rhythm - Pages 14 and 15

http://www.youtube.com/watch?v=QNv405hlSt8







Rhythm Exercises #1 - Page 17

The exercise here is tapping your foot on the pulse (the metronome beat which is set to 60bpm), counting out loud and clapping on the rhythms that are written...I explain it pretty fully in the video...if you don't own a metronome there are a few nice online ones that are free..check this out:

http://www.metronomeonline.com/

http://webmetronome.com/

http://www.pinkandaint.com/weirdmet.shtml

http://www.youtube.com/watch?v=shk0OL_squA




Eighth Notes and Subdivision - Pages 22 and 23

We are now starting to subdivide time into eighth notes, the first half of the beat being called the "upbeat" and the second half being the "downbeat"...next lesson will be applying this idea to strumming chords.

http://www.youtube.com/watch?v=Hc2RIxeI1wk






Strumming Eighth Notes - Page 24


We are learning about two ways to strum eighth notes...all down strummed for musical passages that are more driving (think the Ramones) and alternating down and up strums for bigger more "open" musical passages.

If you haven't done the earlier lessons in this series back up and do those first: Time and Rhythm, Rhythm Exercises #1 and Eighth Notes and Subdivision.

Some very important things to remember is that you ALWAYS tap your foot on the downbeat and that you should always practice this material with a metronome. If you don't feel the quarter note pulse while you are playing then you will not have consistent and even feeling subdivisions.  A common problem for students is that their upstrum on the "upbeat" will rush or drag.  Remember that eighth notes to to be equal and your "upbeat" should be directly between "downbeats".


http://www.youtube.com/watch?v=sTVzzPnZkJ8

[Help!I'maRock!]

on page 52, you introduce power chords.

1. why confuse them from the get-go with 4th string power chords that they'll likely never use in a rock context?
2. is it safe to assume that each exercise is to be played with the root all on the same string, and then jumping between strings? if so, how much do you really expect students to use the 4th string chords?

[Guitar1969]

Mark - Thanks for posting this - this is helpful in understanding the rationale behind some of the methods.

One question though - You mention using "Time of Your Life" by Green Day as one of the first song to teach, but do you have them play just full chords strums or the real way , with the Arpeggios, and at full tempo as that seems like it would be difficult for a beginner. I remember picking up that song back when I first learned guitar and gave up on it, as playing the single string arpeggios at the same time as changing the chords when I was just learning chords was too much for me as a beginner(since you can't look at both places at the same time) - I am sure I could do it now but not as a beginner.

Just curious on your thoughts on this.

By the way - I came accross this article on current brain research and musicians, and I gurantee you will find it extremely interesting:

http://www.newenglandconservatory.ed...hbyGebrian.pdf

[Mark Wein]

on page 52, you introduce power chords.

1. why confuse them from the get-go with 4th string power chords that they'll likely never use in a rock context?

Actually, the original version had a 4th voicing on the 1st, 2nd and 3rd strings.  A big part of this section is to get the students knowing about movable chord shapes and their roots more than just learning power chords.  And I actually use that shape a bunch myself when I play in a two guitar band to fill out the sound  smi

Here is an example from our "Rhythm and Groove" class curriculum CD where one guitar (in the right speaker) is playing the regular power chord shapes and the second guitar is in the left with the 4th string root chords (and a 1st inversion triad for a D/F# at one point).

http://markweinguitarlessons.com/sou...5 Track 05.mp3

2. is it safe to assume that each exercise is to be played with the root all on the same string, and then jumping between strings? if so, how much do you really expect students to use the 4th string chords?

You can do it that way.  Finding the chords all on one string is the easiest way to get the student rolling but it isn't really how you use the shapes most often in real life playing situations so I'll have them do the chords on each string and then I'll break the neck up into zones where they can only play the roots in a 4 -6 fret span.  This should give them tons of variations and really get them knowing their fretboard much more quickly.

Of course, some students have their hands full with just the first two chord shapes and I'll scale it back a little but in an ideal world I'd want the student working the material much more comprehensively...

[Mark Wein]

Mark - Thanks for posting this - this is helpful in understanding the rationale behind some of the methods.

One question though - You mention using "Time of Your Life" by Green Day as one of the first song to teach, but do you have them play just full chords strums or the real way , with the Arpeggios, and at full tempo as that seems like it would be difficult for a beginner.  I remember picking up that song back when I first learned guitar and gave up on it, as playing the single string arpeggios at the same time as changing the chords when I was just learning chords was too much for me as a beginner(since you can't look at both places at the same time) - I am sure I could do it now but not as a beginner.

Just curious on your thoughts on this.

By the way - I came accross this article on current brain research and musicians, and I gurantee you will find it extremely interesting:

http://www.newenglandconservatory.ed...hbyGebrian.pdf

No problem! I wish that some of the books I use the most had "Teachers editions" like school textbooks have sometimes...

Actually "Time of Your Life" I usually do after about page 35-36 because on page 34 we learn the Cadd9 chord and on 35 we start with the arpeggiation....by that point the student is more capable of playing the song...

[Guitar1969]

Mark:
I was thinking that it would be cool if you had short audio recordings posted of the lesson exercises(Or even just some of them), so we had an example of what the exercises in Foundations should sound like when playing - probably be a good teacher resource as well. Although I have played for awhile, reading notation is new for me, so I am relearning and not sure if I am reading the notation correctly as it gets more advanced. I know alot of books come with CDs these days, but since we are now in cyberspace, a posting of files to supplement the book would be cool, and wouldn't add additional cost to the book.

mh

[Mark Wein]

Mark:
I was thinking that it would be cool if you had short audio recordings posted of the lesson exercises(Or even just some of them), so we had an example of what the exercises in Foundations should sound like when playing - probably be a good teacher resource as well. Although I have played for awhile, reading notation is new for me, so I am relearning and not sure if I am reading the notation correctly as it gets more advanced. I know alot of books come with CDs these days, but since we are now in cyberspace, a posting of files to supplement the book would be cool, and wouldn't add additional cost to the book.

mh

I've actually considered doing that. I was originally waiting to upgrade my recording situation but right now I am buried in other stuff....it will probably happen this year, though...

[Eminence_Front]

As a beginning student, who had several "false starts" as an adult, I can Vouch for #3 above.


Learning the C-Major scale in 2 octaves at the 5th position gave me so much confidence that it allowed me to really want to practice the sight reading.


Plus, I found myself instantly able to tie that lesson, to all the Open Pos. Chords I already knew.

Instantly, I could find any note on strings 1,5,6 from Nut to 12th fret.

[Kerouac]

Hey Mark, I hope you don't mind if I drop in for a few thoughts.

Right now I have four students who are using Mark's book. Three of them are complete beginners and one of them is a student I've had for two years on bass, but is now playing electric guitar as well. I do skip around the book a bit, as at the very first lesson there is a lot to go over and I want a new student to go home and have something to work on rather than just reading or clapping. For that reason I start every student off with a variation of Exercise #1. (p. 37) I try very hard to have every student start off by practicing that exercise at 60 BPM, but I find parents are often VERY lax about making sure their child uses a metronome... I'm satisfied as long as the student puts in the time and make sure that each of the notes they fret rings out clearly with no buzz. Once they're able to consistently fret notes I've found they respond much better to playing along with the metronome.

From there I generally move onto exploring the chords (p. 20-21) and incorporate the Time and Rhythm (p. 14-15, 17) at the same time. Sorry Mark, but I skip the quiz page. Like Mark, I often use Green Day's "Good Riddance" as an early song, but I also ask new students to provide me with a list of their five favorite artists and ten favourite songs. If the opportunity presents itself to use one of these songs early on I'll definitely do so. I also supplement the book with some of my own arrangements and and compositions at this stage.

I have two favourite sections of the book. One, I really love the quick and dirty Movable Chord Shapes section at the end of the book. I've always hated those massive chord dictionaries advertising hundreds of chords since most of that is just filler BS and features the movable chords at the intended note, yet treats it as a completely new chord form. Understanding that these chord shapes are really MOVABLE and not just static for a certain position is, IMO, a pretty huge breakthrough. Two, I love all of the strumming/rhythm exercises. Not only do I use them with the guitar students, but I'll have drum students sight read them, especially p. 54-55, 66-67. It's always nice to keep those guys on their toes... biggrin

I have really enjoyed teaching with Mark's book and I think that there is valuable info in there for almost all levels of student. The only qualifier I'll place on that is I personally won't use it for students under nine or ten years old. I occasionally take students as young as six and I haven't yet found ANY published material that I've been satisfied with for younger children. This isn't a light against Mark or his book at all... that's just a very difficult age group to instruct and I've found I use almost entirely home brewed materials and arrangements. Otherwise, I highly recommend it... I even use my own private copy for practice from time to time.

[Mark Wein]

Actually, hearing how other teachers adapt the book to their teaching styles is really cool.

I don't use my own book for the younger kids, either. The book I tend to use the most is the Alfreds Kids Guitar Method. I really need to write a good kids book, I think....

For me, the quizzes are important just because it makes the student think about the info away from the lesson, even if they are just copying the answers from one page to another the act of writing the answers out will help them retain the info.

I also teach the book a little out of order...I had to lay it out to make sense for someone to use if they were "self-teaching" from it but I also like to get a first time student playing chords in the first lesson...they can continue to work on those chords with some simple songs while we learn their theoretical basics in the next few lessons.

This summer I intend to start working on Book 2 once I get the E-store and our recording program up and running. I also have a couple of other book ideas that I want to develop in the coming year if I can find the time. Maybe I can do one book a year....just not enough hours in the day anymore

[Kerouac]

Actually, hearing how other teachers adapt the book to their teaching styles is really cool.

I don't use my own book for the younger kids, either. The book I tend to use the most is the Alfreds Kids Guitar Method. I really need to write a good kids book, I think....

For me, the quizzes are important just because it makes the student think about the info away from the lesson, even if they are just copying the answers from one page to another the act of writing the answers out will help them retain the info.

I also teach the book a little out of order...I had to lay it out to make sense for someone to use if they were "self-teaching" from it but I also like to get a first time student playing chords in the first lesson...they can continue to work on those chords with some simple songs while we learn their theoretical basics in the next few lessons.

This summer I intend to start working on Book 2 once I get the E-store and our recording program up and running. I also have a couple of other book ideas that I want to develop in the coming year if I can find the time. Maybe I can do one book a year....just not enough hours in the day anymore

Tell ya what, you worry about writing book two and I'll write the kids book.

[Mark Wein]

Tell ya what, you worry about writing book two and I'll write the kids book.

I'd like to have the time to write anything at this point

I just started a new bass student last week and instead of working out of one of the established methods I decided that I would actually write new lesssons for him and have "Foundations for Bass Guitar" underway.....

[Kerouac]

I'd like to have the time to write anything at this point

I just started a new bass student last week and instead of working out of one of the established methods I decided that I would actually write new lesssons for him and have "Foundations for Bass Guitar" underway.....

THAT would be cool. Right now I'm using three different bass methods, but mainly The Complete Electric Bass Player.

[Mark Wein]

THAT would be cool. Right now I'm using three different bass methods, but mainly The Complete Electric Bass Player.

I think that might be my next target, then...just a simple learn to play bass by learning to read music on bass book (like foundations without the chord stuff).

[Kerouac]

I think that might be my next target, then...just a simple learn to play bass by learning to read music on bass book (like foundations without the chord stuff).

Personally, I would be forever grateful if you would avoid putting slap 'n pop into a basic bass book. Hey kids, you can't be Les Claypool or Flea until you can master a simple walking bass line.

[Mark Wein]

Personally, I would be forever grateful if you would avoid putting slap 'n pop into a basic bass book. Hey kids, you can't be Les Claypool or Flea until you can master a simple walking bass line.

That material doesn't belong in a beginning bass book. Simple technique, fretboard comprehension, reading notes and rhythms and enough theory to walk a simple bassline or construct a decent rock bass part are all that's necessary.

[Kerouac]

That material doesn't belong in a beginning bass book. Simple technique, fretboard comprehension, reading notes and rhythms and enough theory to walk a simple bassline or construct a decent rock bass part are all that's necessary.

Totally. Big pet peeve of mine there. Also, if you're doing a bass book either a play along CD or downloadable MP3 backing tracks are a must. I make a lot of my own backing tracks for students and it really does help. More work for you though, on top of writing it.

[Mark Wein]

Totally. Big pet peeve of mine there. Also, if you're doing a bass book either a play along CD or downloadable MP3 backing tracks are a must. I make a lot of my own backing tracks for students and it really does help. More work for you though, on top of writing it.

I actually have most of Foundations' backing tracks recorded already except for the Song exercises....I was planning on putting them in the "Premium lesson" section along with a ton of other stuff when I got it all finished....future books will be the same, so students would have access to all of the materials for one price. If I could sell the book with a CD I would but my publisher sin't set up to do that....

[Kerouac]

I actually have most of Foundations' backing tracks recorded already except for the Song exercises....I was planning on putting them in the "Premium lesson" section along with a ton of other stuff when I got it all finished....future books will be the same, so students would have access to all of the materials for one price. If I could sell the book with a CD I would but my publisher sin't set up to do that....

Honestly, I've broken so many CDs in those books that it's not even funny. Starting this year I've required all of my students to purchase a 2GB flash drive for transferring backing tracks. They need to bring it to their lessons with them for new backing tracks and their own recordings. It's helped to cut back on the cost of CDs on my end and most people have a spare one lying around anyway... they're so cheap these days.

if I had a dedicated web page I'd definitely have backing tracks ready to download and put on their iPods, etc.

[Mark Wein]

I don't require the flash drives but many of my students bring them.

on my old PC it would automatically start an Adobe Photo studio program that would catalog any images on a and new flash drive that was found.

Once one of my students in his mid 50's forgot about the naked pictures of his wife that were on his drive

[Kerouac]

I don't require the flash drives but many of my students bring them.

on my old PC it would automatically start an Adobe Photo studio program that would catalog any images on a and new flash drive that was found.

Once one of my students in his mid 50's forgot about the naked pictures of his wife that were on his drive

Ctrl-S or Alt-F4?

[Mark Wein]

Alt-F4

[Kerouac]

Alt-F4

[Mark Wein]

srsly.

[MichaelAMineni]

Hey Mark,

If you start the G Major scale on fret 3, low E string and proceed thru positions 4,5,1,2, & 3: where do we start A, B, C, D, E, & F major scales. Also, what is the position sequence.

Thanks, Michael

[Mark Wein]

Hey Mark,

If you start the G Major scale on fret 3, low E string and proceed thru positions 4,5,1,2, & 3: where do we start A, B, C, D, E, & F major scales. Also, what is the position sequence.

Thanks, Michael

Do you have time to catch my webcast tomorrow night? I'll actually go over the whole thing and I think you'll have an easier time getting it that way...

[Ronk]

Ok... I have Foundations and I have an 8yr old eager to learn. (thanks to guitar hero)

I picked him up a Mini-Strat when he was 4 and he has one of my little combo practice amps.

So far I have just showed him E, A and B on the second fret. also a one string major scale for him to goof around with.

Last night I heard him trying to get Master Of Puppets going... (just the opening chords).

So... should I start on page 19? or should I take a different approach with him?

[Mark Wein]

Ok... I have Foundations and I have an 8yr old eager to learn. (thanks to guitar hero)

I picked him up a Mini-Strat when he was 4 and he has one of my little combo practice amps.

So far I have just showed him E, A and B on the second fret. also a one string major scale for him to goof around with.

Last night I heard him trying to get Master Of Puppets going... (just the opening chords).

So... should I start on page 19? or should I take a different approach with him?

Have him try the chord stuff from page 19 and on and see if he can hang....if he can then he should be able to slowly work through much of the book and you can supplement him with songs to keep it fun. Having said that, my book can have mixed results with kids under 10 so if he's struggling with it you can try the Alfreds Kids Guitar Method and see if that works better....