Unit Name: Community Setting  

Context Statement:​ ​We will be working with the men in Gemeinschaft Home’s Residential Program
(​http://www.gemeinschafthome.org​). These individuals of various ages are non-violent, non-sexual past offenders
navigating the transition between incarceration and community living. Throughout the semester, many have had
learning experiences with JMU music students developing skills with singing and songwriting, guitar, keyboard,
and percussion, so it is likely that the men we will teach have a basic introductory level of knowledge regarding
singing, chords, and strumming patterns. They use music as a means of expressing themselves and connecting to
others, and are generally interested in songs that relate to their stories and struggles or that provide and
encourage hope.

Because they are older men, they might be more comfortable playing larger ukuleles (tenor) instead of the typical
soprano ukuleles. They would benefit from handouts and visual representations of the information presented,
provided by our chord slides. The setting we would use is a large open space with many chairs (convenient
because we would likely be working with between 10 to 20 men) that generally does not have technological
access. We would most likely need to print out chord sheets for small groups of men or individuals to look at or
use larger posters that display the lyrics and chords very clearly.

Stage 1 - Desired Results

Standards: Goals:
- I can recognize and play the chords (​C, Am, F, G, D, and Em)​ used in the
MIAD.4 songs we are learning on ukulele. (S, K)
MIAD.10 - I can use a relaxed, rounded but firm hand position when strumming,
MIAD.18 incorporating a variety of different strumming techniques to produce different
MIAD.19 sounds and moods. (S, T)
MIAD.20 - I can describe, compare, and contrast the different moods created by each
MG.8 song (Freebird, Hallelujah, Somewhere Over the Rainbow) using musical
MG.9 terminology (major/minor, slow/fast, etc.) and use this knowledge to further
MG.10 express myself through and relate to the music. (M, T)
- I can identify my personal feelings about each song and describe how my and
others’ life experiences influence the performance of each song. (M, T)
- I can maintain a consistent tempo in my playing individually and within a group
as well as move from chord to chord with no pauses to best accompany the
melody. (S, K)
- I can adjust my sound to match with the sound of others playing around me.
(i.e. dynamics, tone quality) (S, K)

Generative (Essential) Questions

1. What were the easiest and hardest parts of learning the ukulele? How might this apply to future learning?
2. How do songwriters decide on chords and strum patterns?
3. How does music affect people in so many different ways? How has it affected you personally?

Stage 2 - Evidence 
Day 1: Hallelujah (played in small groups)
- Learner successfully strums correct chords on strong beats.
- Learner fingers 2/3rds of chords Am, F, C, G correctly in context.
- Learner describes in writing or verbally the mood created by the song.
- Learner responds in writing with what life experiences shape their interpretation.

Day 2: Somewhere Over the Rainbow (played in small groups)

- Learner successfully strums correct chords with the pattern down, down, up, up, down.
- Learner fingers chords Am, F, C, G, Em correctly in context.
- Learner describes in writing or verbally the mood created by the song using some musical terminology.
- Learner responds in writing with what life experiences shape their interpretation and how they
demonstrate that through their performance.

Day 3: Freebird (played in small groups)

- Learner successfully strums correct chords with the pattern down, down, up, down, down, up, up, down,
down.
- Learner fingers chords D, F, C, G, Em correctly in context.
- Learner describes in writing or verbally in group discussion the mood created by the song using musical
terminology and relating it to other descriptive feeling words..
- Learner responds in writing or verbally in group discussion with what life experiences shape their
interpretation and how they demonstrate that through their performance.
- Learner compares and contrasts in writing or verbally in group discussion their different reactions,
connections, and emotions regarding performing the songs “Hallelujah”, “Somewhere Over the Rainbow”,
and “Freebird”.

Stage 3 – Learning Plan 

Day 1: Hallelujah
- Goal: Residents will gain basic knowledge of chords C, F, G, and Am and basic strumming ideas through the
song “Hallelujah” on ukulele.
- Process:
1. Listen and sing to the song while instructors play chords and show chord posters.
2. Split into groups with one instructor per roughly five men.
3. Within their groups, Instructors will introduce chords one by one playing through the song, starting with
the most prominent chords (C, Am). Instructor will provide individual help if needed within groups.
4. After chords C and Am are solidified, instructors will go over the next group of chords that are also in the
song (F and G).
5. The men will be instructed to play these chords in a simple quarter note pattern with the song.

Day 2: Somewhere Over the Rainbow

- Goal: Residents will review all the chords they have learned, learn a new strumming pattern and
incorporate it all into a performance of “Somewhere Over the Rainbow.”
- Process:
1. Listen and sing to the song while instructors play chords and show chord posters.
2. Split into groups with one instructor per roughly five men.
3. Within their groups, Instructors will review all of the chords used in this song (C, F, G, Am).
 4. After chords last week’s chords are solidified, instructors will go over the Em chord.
5. Instructors will teach the pattern down, down, up, up, down.
6. Men will perform “Somewhere Over the Rainbow” all of the chords and both strum patterns.

Day 3: Freebird
- Goal: Residents will learn the fingering of the chords D and Em in addition to the ones they already know.
They will also add strum patterns to their repertoire through the song “Freebird” on ukulele.
- Process:
1. Listen and sing to the song while instructors play chords and show chord posters.
2. Split into groups with one instructor per roughly five men.
3. Within their groups, Instructors will introduce chords one by one playing through the song,
starting with the chords from last week. Instructor will provide individual help if needed within
groups.
4. After chords last week’s chords are solidified, instructors will go over the D chord.
5. The men will be instructed to play the chords using the pattern down, down, up, down, down, up,
up, down, down.

Final Assessment Rubric 

Goal/Quality No  Minimal  Meet  Exceeds 

Evidence  Evidence  Expectations  Expectations 

1. Strumming Learning Learner can play Learner performs Learner performs

Patterns playing on downbeats on mostly correct correct strum pattern
(Individual) without clear all three songs. strum pattern on AND creates
sense of all three songs. consistent sound on
rhythm all three songs.

2. Chord Fingerings Learner can Learner can finger Learner performs Learner performs all
(Individual) (C, Am, not finger any 1-2 chords three out of four chord fingerings
F, G, D, and Em) chords in or correctly in or out chord fingerings correctly
out of the of the context of correctly and all
context of performance chords while not
performance performing

3. Understanding of Learner does Learner can Learner can Learner can connect a
feeling/mood using not indicate recognize either a connect a mood of mood of the piece to
musical terminology any moods or certain mood OR the piece to the the tempo, tonality
musical musical features: tempo, tonality or AND dynamics of the
features. tempo, tonality or dynamics of the piece.
dynamics piece

4. Personal Learner does Learner Learner Learner writes/says

Interpretation not express writes/says parts writes/says parts parts of music that
their feelings of music that they of music that they they 1. Like 2. Dislike
towards the 1. Like 2. Dislike 1. Like 2. Dislike AND 3. Relate to as
music OR 3. Relate to. AND 3. Relate to. well as if this changes
how they might play it
themselves.
5. Group Learner does Learner often Learner stays in Learner stays in time
Musicianship not play when plays out of time time with leader/group AND
(Group) group is with group leader/group stays within the
playing dynamic range of the
group