Beginner Guitar · PLECK lesson

PLECK lesson 63 · suggested week 13, day 3

Change between G and D

Objective. Demonstrate this observable music task: Rehearse the two allowed starting strings, then play both chart bars twice with no attack on D's excluded strings.

Enlarge/print text, speak or dictate written responses, use parent scribing, quiet practice and a visible score. Left-handed hand roles are equivalent. A hearing/one-hand or temporary-instrument limitation can use an explicitly documented alternative target; do not claim an unobserved auditory or two-hand playing skill. Parent may consult an appropriate music/access professional; no medical diagnosis is made.

Start any clip at a low comfortable volume. No headphones or amplifier are required. Pause and tell an adult if it is uncomfortable. A download is not browser playback, and the clip is not a recording of a person playing.

About 45 minutes. The due date is chosen by a parent.

Materials: An available ordinary six-string acoustic/classical/electric guitar in standard tuning; no amp required, Pencil/paper or on-site text area, A nearby parent/teacher for live observation OR an optional private recording device, Optional existing pick, dry cloth, free reference tones/tuner or metronome; no purchase or account required.

Comes after GTR-L062.

Learn the exact new shapes when their lessons arrive: D xx0232, A x02220 and E 022100. D contains D F-sharp A; A contains A C-sharp E; E contains E G-sharp B. The sharp raises a natural note by one semitone. Do not confuse E major with Em. Complete reduced shapes are listed in the reference. In 3/4 a bar holds three quarter beats; in 4/4 it holds four. Two eighth notes divide one quarter beat, counted number-and. A small down/up motion can produce the pair without changing the underlying beat. Tempo is the speed of that beat, while meter groups beats. Use slow readable counts and permitted easier voicings, not a forced wide stretch. Today: Keep the neck supported while changing the fretting shape. For G-to-D, the brush starting point moves from the chosen G bass to D's allowed fourth string, so both hands need a modest plan. Use fretting/plucking hand roles for either handedness; string numbers stay fixed. Play in short comfortable blocks with breaks. Stop for pain, numbness or unsafe peg uncertainty; tell a responsible adult. No forced stretch, amp, purchases or new account is required.

Worked example

Original worked score GTR-EX063 (g-d). First event: string 6 fret 3 (G2), string 5 fret 2 (B2), string 4 fret 0 (D3), string 3 fret 0 (G3), string 2 fret 0 (B3), string 1 fret 3 (G4), lasting 2 quarter beats. Sound each event once, allow its duration to pass, and count rests without a new attack. Numbers aligned within a column belong to the same event. The following duration row, not character spacing, specifies time.

Bar 1 (4/4, quarter=1 beat)
beats |  2    2  |
1 E4 |--3----2--|
2 B3 |--0----3--|
3 G3 |--0----2--|
4 D3 |--0----0--|
5 A2 |--2-------|
6 E2 |--3-------|
r=rest in all strings; dash=do not attack that string; each column is one event.
Bar 2 (4/4, quarter=1 beat)
beats |  2    2  |
1 E4 |--2----3--|
2 B3 |--3----0--|
3 G3 |--2----0--|
4 D3 |--0----0--|
5 A2 |-------2--|
6 E2 |-------3--|
r=rest in all strings; dash=do not attack that string; each column is one event.

Bar 1, event 1, 2 beats, string/fret 6/3 sounding G2; string/fret 5/2 sounding B2; string/fret 4/0 sounding D3; string/fret 3/0 sounding G3; string/fret 2/0 sounding B3; string/fret 1/3 sounding G4 Bar 1, event 2, 2 beats, string/fret 4/0 sounding D3; string/fret 3/2 sounding A3; string/fret 2/3 sounding D4; string/fret 1/2 sounding F#4 Bar 2, event 1, 2 beats, string/fret 4/0 sounding D3; string/fret 3/2 sounding A3; string/fret 2/3 sounding D4; string/fret 1/2 sounding F#4 Bar 2, event 2, 2 beats, string/fret 6/3 sounding G2; string/fret 5/2 sounding B2; string/fret 4/0 sounding D3; string/fret 3/0 sounding G3; string/fret 2/0 sounding B3; string/fret 1/3 sounding G4

Change between G and D — play, record and check

  1. 1. Which hand must notice the changed allowed bass in a G-to-D transition?
  2. 2. Count the note/chord attacks and rests in bar 1 of the supplied worked score. A simultaneous chord column counts as one attack, not one per string.
  3. 3. Rehearse the two allowed starting strings, then play both chart bars twice with no attack on D's excluded strings. Actual playing: a parent hears the live guitar, or a private clip under 4 MB. Writing this answer does not replace the playing.
  4. 4. Spiral review from GTR-L048: perform only bar 1 of its supplied worked score once at a comfortable pulse. Name one location or timing feature you remembered; if playing is unavailable, record that performance is pending rather than claiming it. Actual playing: a parent hears the live guitar, or a private clip under 4 MB. Writing this answer does not replace the playing.
  5. 5. Record three things for this lesson: (1) actual task and chosen tempo or count method, (2) one specific audible/observed result, and (3) one safe next action. If already accurate, name a checked feature instead of inventing a mistake. Label support, adaptation or missing performance; do not invent minutes. Practice record. Text, a photo, or paper is enough for the log.

Feedback bands. R-THEORY. Music/instrument understanding. Answers the exact supplied question; Correct string/fret/pitch/rhythm or safety meaning; Clear labels distinguishing sounding/written pitch. 0: No relevant evidence yet. 1: Partial recognition with a material confusion. 2: Meaning mostly accurate with a correctable labeling gap. 3: Requested facts/calculation are accurate and clearly labeled. R-PERFORM. Actual guitar playing. Pitch/chord/string choices required by the visible task; Counted rhythm, rests and continuity at an agreed comfortable tempo; Clear intentional sound/phrasing within the stated task; Safe feasible movement and honest support/adaptation labels. 0: No usable observed/audible playing evidence yet; pending or access-adapted, not inferred from text. 1: Some assigned sounds evident; substantial location/time support needed. 2: Required task mostly recognizable with a few gaps and labeled supports. 3: Required notes/chords and rhythm are clear, with intentional starts/ends and safe control at the chosen tempo. R-ARTIFACT. Readable notation, design and original music. Exactly the features/counts visible in the task; Usable string/fret and duration/form labels where assigned; Consistent bar totals and actual performed version; Original/arranged/source and adaptation labels. 0: No inspectable artifact. 1: Some relevant work but key requested labels/counts missing. 2: Mostly reconstructable with limited inconsistencies. 3: Visible task complete, readable and musically reconstructable; labels honest. R-PRACTICE. Honest practice and reflection. Names actual task/attempt and tempo/count method; Specific observable result; Feasible safe next action. 0: No relevant record. 1: Vague record with little inspectable evidence. 2: Specific observation and plausible next step. 3: Clear evidence-linked observation and a feasible safe next action.

Acceptance checks

A student may explain aloud to a parent. Written/diagram tasks: on-site text, readable photo, print-and-hand-in or private scan. Playing: a parent hears actual live playing and logs the named task/bars, or submit short private audio/video clips each strictly below 4 MiB (4,194,304 bytes), using an app-supported format. Split by labeled phrases; check actual bytes. No face, legal name, home view, public account, ZIP or code upload is required. Actual upload formats/UI are unverified; use the live-parent route if unavailable. Text/photos alone do not establish playing. Label adaptations/support and allow resubmission.

Optional extra. Optional, not a grading requirement: make one new two-bar variation of the g-d model using only already taught notes/chords and its meter; explain one changed rhythm or ending, or increase tempo slightly only if still relaxed.

Name ____________________ Date ____________________