How do you avoid discipline problems in guitar ensemble?

A teacher's success in directing an ensemble will largely be measured by how well the class moves (rehearsal pace) and the positive control of discipline. Problems with discipline are somewhat unique to ensemble playing, and for the most part need not be addressed in studio guitar (private lessons) teaching where a one-on-one teacher/student relationship exists. In an ensemble, discipline problems are greatly reduced and virtually eliminated if everyone is busy at the same time. Whenever possible, the goal is to involve all players simultaneously (beginners and more advanced players) to avoid having one group wait while another group learns its part. In most situations, the group that is waiting will become restless and discipline problems will occur.

How can you keep everyone busy when most ensembles at the middle school and high school level will have a wide variety of abilities from complete beginners, to those who read little else beyond tablature, to a small number who play and read well? Almost always, this smaller number of musically literate students has played an instrument other than the guitar; this fact reinforces the critical need for guitar ensemble classes in middle schools and high schools.

For discussion's sake, let's say your ensemble has from 25 to 30 students in each class and it's the beginning of the semester or school year. Remember, our goal is to keep everyone participating simultaneously.

Our first warm-up will consist of a series of one-octave major scales with each note of the scale repeated twice. The entire ensemble should first perform a one-octave C major scale, ascending and descending and playing each note 2 times:

CC DD EE FF GG? etc.

For beginning players, use the following diagram of the fretboard to illustrate the scale:

The more advanced players in the ensemble should play the C major scale in the middle or upper-neck. Both beginning and advanced students should perform this scale while calling the letter names of the notes out loud. By calling the note names out loud, the more advanced players are teaching the beginners the memorization of the notes and fingerboard placement.

Move quickly to another scale. Ask the class, "How many of you can play an F major scale?" Usually about half of the class will be able to do this. By now, you will have lost the beginning students who can only play a C major scale.

Again, quickly ask the class, "How many of you can play a D major scale?" Generally, still fewer will be able to play this scale.

Last in this sequence, ask the class, "How many of you can play an A major scale?" A few of the more advanced players will be able to perform this scale.

All of the above can happen very soon after everyone has played the C major scale. Next, assign these different scales to the entire class with the beginning guitarists playing C major. Then, have your students play all four scales at the same time! This will produce a sequence of minor 7th chords commonly associated with jazz and other musical styles.

Note the following sequence of major scales from left to right:

C F D A?

The simplest scale (C) proceeds to the more advanced scales to the right, that is:

C has no sharps or flats
F has one flat
D has two sharps, and
A has three sharps.

Playing scales also presents an opportunity for the teacher to introduce the concept of key signatures. Note: Up to this point this discussion has dealt with only major scale warm-ups. Look what's ahead: The three forms of minor scales, modes, whole-tone scales and much more!!

Once the class has become familiar with the first warm-up, add various combinations of major scales to create beautiful and interesting harmonies…there are hundreds of combinations that can be used to produce even quartal and quintal harmonies.

The first warm-up can also be used to develop the guitarists' skills in rhythm. For example, repeat this rhythmic pattern with each of the 4 scales:

It is an almost undeniable fact that ensemble playing is the most important tool we have to work with in developing reading skills. What can a studio guitar teacher do if there is no ensemble for the student to perform with? Our next session will address the problem of creating an ensemble experience where no ensemble is available!

© Donald Miller
October 2004