Chords Across Three Instruments

Overview

Students explore how chords are built and played on piano, guitar and bass. Building on aural listening and basic instrument care, they learn to recognise and perform a simple chord progression using C, F and G7. The lesson establishes foundations for the next two lessons, where students will develop fluency and accompany a song.

Learning intentions

Students will:

• identify a chord as three or more notes sounding together
• locate and play the notes of C, F and G7 on piano
• play a simplified chord shape on guitar and the root notes on bass
• keep a steady pulse while changing between chords
• use appropriate musical language to describe what they hear and play.

Success criteria

• I can explain that a chord contains notes played together.
• I can play or locate C, F and G7 in my instrument group.
• I can change chords or root notes while keeping a steady beat.
• I can listen respectfully and give one specific piece of musical feedback.

Curriculum links

• Toi Ihiihi: practical music-making through performing, listening and responding.
• Te Reo Rangatira: whakarongo, kōrero, mātakitaki and whakaatu through listening, discussing, reading chord symbols and presenting a performance.
• Marau ā-Kura: connect the activity to local waiata, artists or musical aspirations where appropriate.
• Learner agency and collaboration: students share instruments, take musical roles and support collective performance.

Lesson structure (60 minutes)

1. 0–5 min · Musical hook. Teacher plays or plays a recording of a familiar three-chord song, then opens the hook and listening prompt and asks, “What stays the same, and what changes?” Students silently identify the pulse, then share observations using words such as beat, chord, bass and melody.

2. 5–13 min · Foundations and safety. Teacher uses the chord and instrument foundation slides to demonstrate correct posture, safe volume, gentle instrument handling and the difference between a note, a chord and a chord progression. On piano, demonstrate C as C–E–G, F as F–A–C and G7 as G–B–D–F; students echo the teacher by clapping the pulse and saying each chord name.

3. 13–25 min · Teacher modelling and guided practice. Teacher models the three roles: piano plays the chord notes together, guitar plays a simplified version or the teacher’s prepared shapes, and bass plays the root note of each chord. Use the chord diagrams and role instructions and distribute the three-chord practice sheet. Students rotate through short guided attempts in two groups of three, with one student observing and giving a prompt such as “slow down” or “next chord”.

4. 25–38 min · Instrument stations. Teacher sets up three stations and coaches each group for approximately four minutes before rotating: piano chord shapes, guitar chord shapes or simplified two-note shapes, and bass root notes. Students practise C–F–G7–C with a metronome at a slow tempo, first stopping between changes and then playing continuously. Students record a fingering, note pattern or helpful reminder on the worksheet.

5. 38–50 min · Ensemble challenge. Teacher brings the class together and displays the ensemble challenge and chord progression. Count in four beats and lead four repetitions of C–F–G7–C, using a steady backing beat if needed. Students perform in three roles, then swap roles once where instrument access allows; students not currently playing tap the pulse and quietly say the chord names.

6. 50–56 min · Perform and respond. Teacher invites the group to perform one final repetition, then asks, “Which change was easiest? Which needs more practice?” Students perform, listen without interrupting and give one kind, specific response linked to the success criteria. Teacher notes evidence of pulse, accurate notes and teamwork.

7. 56–60 min · Exit check and preview. Teacher uses the plenary and next-lesson prompt and asks each student to demonstrate one chord or bass root note, name it, and explain one practice goal. Students complete the final reflection box on the three-chord practice sheet and pack instruments safely.

Resources

• Piano or keyboard with sustain pedal removed or controlled
• Acoustic or electric guitar with picks and optional chord diagrams
• Bass guitar with amplifier at a safe volume
• Metronome or simple backing beat
• Whiteboard and marker
• chord foundations and ensemble deck
• the three-chord practice sheet
• Instrument leads, tuners and spare picks
• Stools or music stands

Assessment

• During modelling and stations, check whether students can identify C, F and G7 and use safe, controlled technique.
• During the ensemble, observe steady pulse, accurate piano chord notes, recognisable guitar shapes and correct bass root notes.
• Use the final demonstration and worksheet reflection as an exit check: each student names one chord or root note and states a specific next step.

Differentiation

• Support students with colour-coded notes, enlarged chord diagrams, a slower metronome and permission to play only the first note of each chord change.
• Pair a confident student with a developing player, while ensuring each student has a meaningful instrument role; use spoken rehearsal before playing.
• For students finding guitar shapes difficult, use simplified two-note shapes or strum only on the first beat. For bass, begin with open strings or one root note per bar.
• Extend quick learners by asking them to play the piano chords in a different inversion, add a repeated rhythmic pattern, or maintain the progression while another student sings or plays a melody.
• Use clear spoken instructions, visual modelling and repeated chord names for students learning through an additional language, and allow students to explain learning in English or te reo Māori as appropriate.