Elective · Music
Beginner Guitar
Middle 6–8, High School 9–12 · PLECK original
PLECK original. This course was written for this school.
This is a PLECK music elective. It is not one of the Easy Peasy music history courses. The 180 lessons, 12 units, TAB, and chord diagrams are open. An independent review passed the packet with no must-fix findings. That is the reviewed content, not a guitar proficiency judgment or a physical-player certification. Playing needs a parent who hears the live guitar, or a private audio or video clip under 4 MB. Text, a photo, or paper can show written work. A written reflection does not prove the playing. Clips are synthetic downloads. Browser playback was not checked. Nothing here requires a purchase. Looking at this page does not enroll a student, does not set a due date, and does not add a transcript credit.
Learning outcomes
- Read the assigned TAB, chord diagram, and questions when review opens the lesson.
- Show playing by live parent observation or a private clip under 4 MB.
- Use text, a photo, or paper for written work without treating that page as the performance.
PLECK lessons
All exercise notes, original study pieces and diagrams arranged/authored for this course. Common scales, chord shapes and musical facts are not claimed as exclusive compositions. Music glyphs rendered with unmodified Noto Music under SIL OFL; license supplied. No third-party score, commercial TAB, lyrics, recording or full external PDF redistributed.
12 units · 180 lessons. A parent assigns one lesson at a time and chooses the due date. Opening a lesson does not enroll anyone.
Synthetic tuning references, as downloads. They are not a recording of a person, and browser playback was not checked. Start at a low comfortable volume. string-6-E2string-5-A2string-4-D3string-3-G3string-2-B3string-1-E4
1. Meet the guitar and make safe first sounds
- 1. Meet the instrument safely
- 2. Choose comfortable hand roles
- 3. Balance without squeezing
- 4. Number the six strings
- 5. First sound checkpoint
- 6. Trace a string to its peg
- 7. Use a reference pitch
- 8. Check tuning without an account
- 9. Keep a steady pulse
- 10. Count while resting
- 11. Hear one attack and a held note
- 12. Let four beats pass
- 13. Care without instrument repairs
- 14. Make a realistic practice log
- 15. Unit 1 private sound demonstration
2. First fretted notes, TAB and basic staff reading
- 16. Find fret 1 behind the wire
- 17. Separate fret and finger numbers
- 18. Add the third fret
- 19. Read six TAB lines
- 20. Checkpoint single-string reading
- 21. Meet B and C on string 2
- 22. Add D on string 2
- 23. Recognize the guitar treble staff
- 24. Join strings 2 and 1
- 25. Draw and play a note map
- 26. Add A above open G
- 27. Read quarter and half notes on a staff
- 28. Bring in D E F on string 4
- 29. Count a dotted half
- 30. Unit 2 note-reading miniature
3. Melodies, Em and Am, and useful practice
- 31. First Em chord without a barre
- 32. Read a chord diagram accurately
- 33. Find clear chord tone gently
- 34. Arpeggiate Em notes
- 35. Em rhythm checkpoint
- 36. First Am chord and muted bass
- 37. Keep the Am top string open
- 38. Plan Em to Am before moving
- 39. Alternate bass and treble in Am
- 40. Two-chord change checkpoint
- 41. Shape a melody rather than race
- 42. Connect strings with small movements
- 43. Distinguish repeated attack from sustain
- 44. Make a four-bar original melody
- 45. Unit 3 melody and minor chords
4. C and G accompaniment in four-beat time
- 46. Learn the C major shape
- 47. Move between C and Am
- 48. Brush only allowed C strings
- 49. Quarter-note downstrokes
- 50. C chord checkpoint
- 51. Learn an open G shape
- 52. Move from G to C patiently
- 53. Read a chord event across TAB
- 54. Use silence to prepare a change
- 55. G and C change checkpoint
- 56. Build four-chord form
- 57. Make a clear chord-change roadmap
- 58. Practice a two-bar trouble spot
- 59. Compose a chord rhythm
- 60. Unit 4 accompaniment performance
5. D, A and E, subdivisions and three-beat meter
- 61. Build D with an open fourth string
- 62. Distinguish D from a neighboring string
- 63. Change between G and D
- 64. Divide a beat into two
- 65. Feel three beats in a bar
- 66. Learn A without a forced squeeze
- 67. Move A to D by location
- 68. Keep the upstroke small
- 69. Combine downstrokes and silent returns
- 70. A and D rhythm checkpoint
- 71. Learn E major and hear its third
- 72. Resolve E to Am by listening
- 73. Compare three and four beat groupings
- 74. Arrange a six-bar chord study
- 75. Unit 5 meter and major chords
6. Minor contrasts, Fmaj7 and the midyear portfolio
- 76. Change D into D minor
- 77. Move Am to Dm with clear basses
- 78. Read minor chord symbols consistently
- 79. Practice release for a written rest
- 80. Minor-change checkpoint
- 81. Meet Fmaj7 without a barre
- 82. Compare C and Fmaj7
- 83. Hear major and minor by a controlled change
- 84. Connect a minor progression
- 85. Read and count a listening rhythm
- 86. Plan the midyear evidence set
- 87. Midyear single-note assessment
- 88. Midyear chord accompaniment assessment
- 89. Midyear theory and original melody
- 90. Midyear reflection and resubmission
7. Fingerstyle patterns and bass/treble roles
- 91. Name plucking fingers by role
- 92. Use thumb and index in dialogue
- 93. Alternate index and middle
- 94. Place fingers before an arpeggio
- 95. Fingerstyle checkpoint one
- 96. Balance C bass and upper notes
- 97. Use G's open middle strings
- 98. Make a D arpeggio
- 99. Expand to eighth-note arpeggios
- 100. Fingerstyle checkpoint two
- 101. Separate accompaniment from melody
- 102. Try bass plus treble together
- 103. Create an arpeggio accompaniment
- 104. Revise an uneven plucking pattern
- 105. Unit 7 original fingerstyle study
8. Scales, ear relationships and limited improvisation
- 106. Build one octave of C major
- 107. Hear whole and half steps in C
- 108. Descend without guessing
- 109. Use a short scale fragment musically
- 110. Scale-reading checkpoint
- 111. Meet A-minor pentatonic
- 112. Improvise with two safe notes
- 113. Add a third note to a response
- 114. Keep a home pitch in mind
- 115. Pentatonic checkpoint
- 116. Build G major with F-sharp
- 117. Compare C and G collections
- 118. Transpose a small idea by ear and map
- 119. Write a scale-based four-bar tune
- 120. Unit 8 original solo and scale
9. Listening, motifs and original composition
- 121. Listen for melodic contour
- 122. Make an audible question and answer
- 123. Repeat a motif deliberately
- 124. Create a dynamic contrast
- 125. Listening and contour checkpoint
- 126. Choose a purposeful silence
- 127. Read a dotted-quarter rhythm
- 128. Understand a tie without reattack
- 129. Change articulation without losing time
- 130. Composition rhythm checkpoint
- 131. Change the register by choosing locations
- 132. Make an original eight-bar melody
- 133. Choose an accompaniment role
- 134. Revise through specific listening
- 135. Unit 9 original music and feedback
10. Original studies, form and feasible arrangement
- 136. Read the original Lantern A phrase
- 137. Read the contrasting Lantern B phrase
- 138. Join AB without an extra bar
- 139. Return to A in ABA form
- 140. Form-reading checkpoint
- 141. Explore the original River A phrase
- 142. Compare River B with its opening
- 143. Arrange a melody-only performance
- 144. Arrange a separate chord accompaniment
- 145. Arrangement checkpoint
- 146. Create a quiet introduction
- 147. Design a deliberate ending
- 148. Make a feasible sixteen-bar plan
- 149. Edit the arrangement for reach and clarity
- 150. Unit 10 private arranged performance
11. Rehearsal, recovery and respectful feedback
- 151. Diagnose the real trouble spot
- 152. Choose a productive slow tempo
- 153. Make a small-loop practice plan
- 154. Rehearse count-in and start
- 155. Preparation checkpoint
- 156. Recover after a missed event
- 157. Re-enter after a rest
- 158. Keep attention across a longer form
- 159. Handle tuning uncertainty responsibly
- 160. Private dress-rehearsal checkpoint
- 161. Give respectful musical feedback
- 162. Decide which feedback to use
- 163. Prepare accessible performance evidence
- 164. Compare early and current playing
- 165. Unit 11 readiness and revision
12. Create and perform a private final capstone
- 166. Choose a feasible original capstone
- 167. Draft capstone bars 1 to 4
- 168. Draft bars 5 to 8 with a relationship
- 169. Draft contrasting bars 9 to 12
- 170. Draft the final four bars
- 171. Choose an eight-bar accompaniment
- 172. Check notation and playable locations
- 173. Rehearse expression and endings
- 174. Rehearse the private evidence route
- 175. Final reading and theory assessment
- 176. Final listening assessment
- 177. Final capstone melody performance
- 178. Final accompaniment performance
- 179. Final reflection and resubmission
- 180. Submit the private music portfolio
Materials
Every source on this page is free to open.
How credit is earned
This is practice, not a transcript credit and not an official score. A parent can still count the hours. Looking at the catalog does not enroll a student.
Grade bands: Middle 6–8, High School 9–12.
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