Introduction:
I have created a portfolio of work demonstrating a range of techniques in the teaching of my primary instrument, the electric guitar. I decided to split the portfolio up into 3 main sections: Commentary, Reflection and Lesson plan.
The focus point of my teaching includes a basic introduction for an adult learner, Keano, who is new to learning the electric guitar. The main points of my teaching include discussing musical interests and previous guitar ability, learning the strumming pattern for the song ‘Creep’, and then learning the basic C major open chord. Furthermore, I then delve into concepts such as the C major pentatonic scale and basic C major arpeggio, which are only worked on after I have introduced the foundational elements, such as knowing the names of the open strings and how to hold a plectrum. It is important to say my lesson plan is not directly related to my teaching of Keano, this is to ensure it is more representative of a single lesson, not the multiple lessons the footage of my teaching was taken from.
In my commentary I will discuss clips from my teaching and discuss in depth my methodology and supporting theories. This will always be supported from textual references in the video clips, which aim to clearly show my approach at a given point in the lesson. I will use a range of specific teaching practices in my lessons. Namely, aural development, kinaesthetic considerations, multisensory learning, accelerated learning approaches and Bruner’s Scaffolding theory. Furthermore, I have included PDF screenshots of specific musical exercises used in my lessons, which cover aural exercises, C major pentatonic scale exercise, to help in identifying a scalic sound and then reproduce it. I also included a C major arpeggio exercise, which aimed to help in the development of a basic right hand-picking technique.
In my Reflection, I will further break down my thought process and constructively critique my teaching methods. At points I recognise aspects that could be improved for my future teaching. I will provide theoretical evidence and suggest alternative approaches to what I have initially done. This includes timestamped examples referencing my clips.
In my Lesson plan, I have very clearly structured my approach to the teaching of a lesson. This isn’t the same structure as the video clips I discuss in my portfolio, with the aim I can more appropriately and in greater detail discuss elements pertaining to different sections of a lesson, as opposed to exactly fitting in the multiple lessons included in my video clips. This is done in a standard format and embedded below onto my portfolio page.
Lesson Plan:
Video Clips of Teaching:
Above is my Video Clips that I will be referencing throughout my portfolio
Commentary:
Accelerated learning:
I will now critically discuss my approach to teaching in relation to the different approaches presented in my introduction and will reference relevant video clips and time stamps. The first approach to learning I will evaluate is my approach to teaching using ‘Accelerated learning’. Accelerated learning is defined as ‘Combining adult learning theory and whole brain learning theory in the learning environment to achieve a faster learning rate’. (Serdyukov, P, 2008). I decided to include the tool mnemonic in my teaching. This is a common method of accelerated learning as it can be used to achieve a ‘faster leaning rate’ by working as a memory aid. In Video Clip 1, (25 seconds) I suggest using the mnemonic ‘Eddie Ate Dynamite Goodbye Eddie’ to help remember the names of the strings on the guitar. This works by the starting capital letters of each word corresponding to the letter name of the string. It is also important to consider the absurdity of this mnemonic, and how this can also help in memory. For example, current research suggests that using more bizarre imagery in a mnemonic can be more powerful than mundane imagery. (Mahdi, H & Gubeily, M, 2018).
Another example of accelerated learning I included in my teaching was differentiating between abstract and concrete language. I tried to use concrete language as much as possible when theoretically explaining a task. For example, I specifically reference the ‘major pentatonic scale’ in Video Clip 6 (5 seconds). As opposed to more abstract language such as ‘scales’ or even ‘major scale’, I am instead referencing a specific 5 note scale which starts on the note C. While this may seem unimportant, I consciously chose this point on the fretboard as it was the same note and fingering position as the C major chord Keano had already had experience playing. As a result, my aim was to use this specific language to help to link prior knowledge and make a potentially unfamiliar concept more accessible. This is an idea that is supported by research such as Bransford and Johnson (1972). This study links to the idea that memory is divided into ‘schemas’, and that new knowledge can be better understood if it fits into an already pre-existing schema. Here, I was trying to fit the C major pentatonic scale into Keano’s pre-existing schema, which was knowledge of the C major chord and familiar fretboard position.
Kinaesthetic Learning and Bruner’s Scaffolding approach
The second approach to learning I will discuss is my use of ‘Kinaesthetic learning’ as well as Bruner’s idea of ‘scaffolding’ learning (1976). Starting with the former, Kinaesthetic learning is the idea of ‘learning through doing’. I incorporated this in Video Clip 4, (5 seconds) in my discussion of holding a plectrum. This is something that to explain only verbally, would require precise language that may not account for the variety afforded by individual choice in what feels comfortable. This is something I bared in mind and checked with my student, such as at 1 minute 30 seconds in Clip 4 where I ask, ‘Is that comfortable’.
In my explanation how to hold the plectrum, I physically showed my positioning of the plectrum and rotated my hand around to present a clear view of my grip. I used reference points like ‘fingernail’ and gave clear feedback when this was being done correctly. For example, saying ‘That’s it!’, Video Clip 4 (35 seconds). This can also be seen as an example of positive reinforcement, where I solidify the kinaesthetic instructions given with verbal feedback to support this.
Bruner coined the term ‘scaffolding’ (1976) to describe a way of teaching where you put information across to a student, like scaffolding on a building, then give them space to ‘climb’, or work on the information themselves. This is an approach I tried to adopt when teaching, specifically in playing Arpeggio exercise 1 (screenshot embedded below). The aim of this exercise was to work on the right-hand technique pattern of an arpeggio in a fun and creative way. My approach to scaffolding is shown in Video Clip 6, where I tried to initially play along with Keano (6 minutes 30 seconds) but then stopped playing once I heard Keano could play the exercise correctly. This allowed the student more independence in playing the arpeggio pattern by themselves. Furthermore, I aimed to create a relaxed and supportive atmosphere with this approach, something which can be often lacking when focused on a technical exercise.
Another way that I incorporated kinaesthetic approaches into my teaching was through vivid imagery. For example, likening a relaxed strumming motion on the guitar to ‘shaking water’ of your hand (Video Clip 4, 48 seconds). This was my introduction of strumming to Keano, which then led to showing the opening chord C major to the song ‘Creep’ by Radiohead using this same technique (Video Clip 4, 2 minutes 10 seconds). Furthermore, we can also see the vivid imagery of ‘shaking water’ off your hand being a use of multimodal approaches to teaching, with the idea of water on your hand relating to the perception of a sense of touch.
Arpeggio Exercise 1:
Aural Learning:
I treated aural learning as an individual exercise in my teaching, but l linked it to the ‘(C) major pentatonic scale’, Video Clip 6 (5 seconds), which I referenced earlier in Accelerated learning. Here, my aim was to help Keano link the numbers corresponding to the major scale with the pitch intervals. From a theoretical view, the idea was to connect auditory information with theoretical symbols, and then physical movements.
So that these relationships could be linked together as much as possible, I also suggested Keano sang and played the notes at the same time. Considering he is a singer; I thought this was a familiar way to start relating intervals with a movement on the guitar. Much research supports this aural approach in helping to learn, such as Makos, M.K (2011) suggesting training using singing had a ‘positive effect’ on string student’s intonation skills.
The major pentatonic scale is a fundamental scale on the guitar in terms of its ubiquity, being ‘heard in just about every style of music’ (Anyone Can Play Guitar, 2026). Hence, my aim was to broaden my students view away from just technical considerations, but to also allow a level of musical knowledge to begin to be applied to the instrument.
To do this, I devised an exercise, Video Clip 5 and C Major Pentatonic Scale example below, where I faced my guitar away from Keano and played one of the notes we had sang just earlier in the lesson. This was an example of formative assessment, where I put to test the student’s memory of the previous instruction. Furthermore, I aimed that through including a segment of learning that was almost only auditory, I would promote learning though listening as natural, and ‘like a language’. This is something that Suzuki (British Suzuki Association, 2026) founded his teaching approach in, utilising the idea that the most natural way to learn music is by ‘listening’ to it.
C Major Pentatonic Scale example:
Reflection:
In my reflection I will analyse each section of my commentary and pick apart where I thought my teaching approaches were effective and worked, and where they could be improved. In cases of improvement, I will suggest alternative teaching approaches, and support this with evidence and relevant theories.
Accelerated learning reflection:
On reflection, my use of the accelerated learning tool mnemonics was explained clearly to Keano, where I would also play each string (Video Clip 1, 2 seconds) before connecting to its relevant letter (EADGBE- ‘Eddie Ate Dynamite Goodbye Eddie’). However, I realise that I didn’t explicitly explain to Keano why I was teaching the string names, and the importance of this. As a result, I will always try and explain why I am teaching something before beginning a task.
Furthermore, I used Branford and Johnson’s (1972) idea of schemas, to help Keano better understand the C Major pentatonic scale. On reflection, I didn’t clarify (Video Clip 6, 5 seconds) that I was taking the major pentatonic scale from the C major chord shape that Keano was already familiar with. As a result, the effectiveness of this new information fitting into something familiar may not have been as apparent to Keano as it was for me. To change this for future teaching, I will always try to explain the context of why I am showing a particular exercise. So here for example, I could say ‘Now we are going to look at the C major pentatonic scale, this actually comes from the C major chord shape we have already played.’
Kinaesthetic Learning and Bruner’s Scaffolding reflection:
My approach to Kinaesthetic learning included ‘shaking water’ off your hand as a physically similar approach to that of a relaxed strumming technique. I think that this was a very successful approach, with Keano succesfully following this in his approach to strumming (Video clip 4, 48 seconds). At the end of the video clip I asked if it felt ‘relaxed’ when strumming and Keano replied that it felt ‘weird’, but only as it was new to them. Considering this, for future lessons I could set independent work soley focused on strumming with this motion. This means that when the student comes to using this technique, it doesn’t feel as unfamiliar as a result of earlier practice.
In Video Clip 4, I tried to implement Bruner’s scaffolding teaching approach in relation to an open position C major arpeggio. This was done by me initially playing the arpeggio with Keano (6minutes 30 seconds), then stopping and allowing Keano to play it by himself (6 minutes 35 seconds), with the intention this would build confidence in his playing. I think that this was largely successful, with Keano clearly playing the exercise when I stopped. There were some points that could’ve made this go smoother, however. Firstly, I didn’t expressly tell Keano I would stop playing, and this could’ve introduced some hesitancy into playing at the correct tempo. As a result, next time I will explain that I will stop playing at some point, so the student isn’t left confused. However, this did successfully initiate Keano to lead the session, bringing the technical exercise to a more creative and confidence boosting purpose.
Aural Learning Reflection:
Reflecting on my Aural learning exercise referenced in Video Clip 5, this was an overall successful element of my teaching, where I aimed to test Keano’s recall ability of notes from the C major pentatonic scale. At first Keano struggles to identify the note I play, saying ‘Are you trying to trick me’ (8 seconds). I also however played a partial other note, which is likely what caused confusion here. Once I suggested to sing the scale from memory before identifying the correct pitch (36 seconds), Keano was able to successfully for identify this as the 5th of the scale. A real positive aspect, is that the introduction of singing clearly helped in Keano playing the scale and shows the benefit of aural training in learning. To improve this in the future, I will ensure to be as clear as possible in what I play, as this has scope to derail the exercise.
Overall thoughts:
Through making this portfolio of written evidence from my electric guitar lessons, I have utilised a wide range of teaching methodologies to inform my approach to teaching Keano. Through adopting a flexible and wide-ranging approaches in my lessons, I have covered basic technical points for a new adult learner of the instrument. In my teaching, I have used theories such as multimodal learning, accelerated learning, kinaesthetic learning and Bruner’s Scaffolding theory, along with aural training. Through commenting on the video clips that have documented my teaching, I have related my teaching to fundamental theories and concepts. For example, the work of Suzuki (British Suzuki Association, 2026) and Branford and Johnson (1972). Furthermore, through my referenced musical examples, I have carefully curated exercises for Keano that incorporate elements of these approaches to teaching. By critically evaluating my intended aims in my lessons with what the actual result is, I hope to have created a portfolio of work that will inform my future teaching endeavours for the better.
Bibliography:
Anyone Can Play Guitar (2026). The Major Pentatonic Scale. Available online: https://www.anyonecanplayguitar.co.uk/the-major-pentatonic-scale/ [Accessed 13/4/26]
Bransford, J. D, Johnson, M. K. (1972). Contextual prerequisites for understanding: Some investigations of comprehension and recall. Journal of Verbal Learning and Verbal Behavior, 11(6), 717–726. Available online: https://web.stanford.edu/class/psych205/papers/BransfordJohnson72.pdf [Accessed 13/4/26]
British Suzuki Association (2026). How the Suzuki Method Works. Available online: https://www.britishsuzuki.org.uk/pages/suzuki-method [Accessed 24/4/26]
Mahdi, H & Gubeily, M (2018). The Effect of Using Bizarre Images as Mnemonics to Enhance Vocabulary Learning. Journal of Social Studies. 24. 113-135. Available online: https://www.researchgate.net/publication/361946167_The_Effect_of_Using_Bizarre_Images_as_Mnemonics_to_Enhance_Vocabulary_Learning[Accessed 24/4/26]
Makos, M.K (2011). An Investigation into Beginning String Players’ Instrumental Intonation Accuracy in Relationship to Stabilized Tonal Music Aptitude
and Vocal Intonation Accuracy. University of Delaware. Available online: https://udspace.udel.edu/server/api/core/bitstreams/db652c62-cb2c-430e-aed0-3ac2a333631d/content
Serdyuko, P (2008) Journal of Research in Innovative Teaching, 1 (1), 35-59 (page 7). Available online: https://www.researchgate.net/publication/268516488_Accelerated_Learning_What_is_It [Accessed 13/4/26]
Wood, D. J., Bruner, J. S., & Ross, G. (1976) The Role of Tutoring in Problem Solving. Journal of Child Psychiatry and Psychology, 17, 89-100. Available online: https://www.researchgate.net/publication/228039919_The_Role_of_Tutoring_in_Problem_Solving [Accessed 13/4/26]
Video Clips 1,2,3,4,5,6. [Filmed at Leeds Conservatoire from 1/1/26-25/4/26]
