Steve Cannella

Post University

7/8/18

An Instructional Design Project

Introduction:

This paper will overview the analysis phase of an instructional design project to be designed. The

deliverable will be a short, self-paced elearning module that will teach the learner to apply basic music

theory to a guitar. The module will be contain sections of video, as well as audio samples and charts, all

designed to support the learner as they learn the components of a major scale, and how they can be

applied to the guitar.

During the analysis phase, many components of the module and learner experience will be

considered and defined before any design begins. The following will outline a needs analysis, to

determine why the lesson is required, and to what degree it will solve a problem. This will lead into an

in-depth assessment of the learner population. A proper understanding of the targeted demographic

will allow the learning asset to be impactful, and give direction to the levels of depth and breadth of the

topic being covered. Beyond assessing the existing learner, one should consider the environment in

which these learners are learning. In this case, the dispersed nature of early guitar players lends itself

nicely to a virtual and self-paced model, although there are technological capabilities that need to be

considered for accessibility.

With an understanding of the learners, their needs, and their environment to provide direction,

the next component of a robust pre-design analysis is to consider the skills required. This research will

consider both the prerequisite skills required to start the course, as well as the skills gained along the

way, culminating in the application of a new skill that is built off of both preexisting and learned

information. A project plan will also require a risk analysis, and while this may evolve as the plan is

executed, an initial grasp on potential barriers or obstacles – called a situational analysis – is critical.
Needs Analysis:

When people are first learning to play guitar, they are confronted with the realization that there

is a dual learning curve. Your hands have to become proficient in physically playing, and your mind has

have a basic understanding of how notes and chords interact. Unless the learner has a background in

another instrument, they are likely to begin by practicing playing the guitar, long before they begin to

study music theory. This is a reasonable starting point, because the understanding of music theory isn’t

going to help your hands get more comfortable, and by learning basic songs, you don’t need to

understand why the notes go together. Typically, that song was written by someone that understood

music theory, but you don’t need to understand why the patterns make sense in order to play them. It is

not until the person is ready to venture into writing their own music, or improvising, that they need to

start to understand how the notes and chords fit together. This is a pivotal turning point in a student’s

playing, and one that is often overlooked. Once you have the physical capability to play, it is time to get

a basic understanding of the theory so that the mind can start to explore, and catch up to the progress

the hands have made.

It is to support this pivot point that the module described will be created. The lesson will provide

details around a specific skill, playing a major scale, that will facilitate the freedom and exploration that

the novice guitar player seeks. By teaching the basics of how chords and notes interact with one

another, the learner will be able to understand which notes go together, and why, allowing them to

move from playing existing songs to composing original music. This skill is also transferable, meaning

that once the learner has practiced and understood a single major scale, they can transfer that

understanding into all other major scales. This is specific to guitar, because the chord shapes remain

constant, as opposed to a piano, where the sharps and flats are represented by black keys, which

changes the shape of each of the 11 major scales.

Learner Analysis:

As alluded to during the needs analysis, this module will be aimed at a specific segment of guitar

players. The audience is early players that have developed the dexterity and hand strength to

functionally play the guitar, and want to develop a better understanding of music theory. This can

encompass a group of players at a wide variety of skills, depending on how much time they have spent

playing and practicing before they embark on the journey of understanding music theory. This module

would be applicable for those that are fairly early, and are just gaining confidence in their playing, as

part of learning the scales involves practicing them. Playing the scales at varying or increasing speed is a

great way to improve hand coordination and dexterity, so this module will be useful to those that are

early in their playing experience and want to continue to develop their physical playing as well as their

understanding of theory. On the other side of the intended audience there will be proficient players that

have been playing for years, and are capable of playing complex pieces. Due to the availability of

tablature on the internet, there are many advanced players who know what notes sound good together,

but don’t understand why. This group will gain a lot from this module as well, because it will confirm

what they have likely figured out themselves, and give them a transferable understanding that will allow

them to transition from a guess-and-check writing style to one where they understand how to resolve

movements, and can pinpoint why specific notes will sound right next to one another.

Environmental Analysis:

Due to the widely variable and dispersed target audience, this module has a nearly limitless

number of potential stakeholders. This can include the learners themselves, as well as other musicians

that they interact with, who want them to gain a better grasp on how the components of a song fit

together. Interest in the module should be very high among potential learners, as typically they’re

playing guitar as an enjoyable hobby. Wanting to improve is natural, because the more skills you unlock
on the instrument, the more versatile you become as a player, and the short nature of this basic module

should be more appealing than many of the longer options available to learners.

Because this is going to be an interactive learning module, it will require some type of internet

connection. It will be more impactful and have better retention with knowledge checks and some

interactive components, so a simple video is less desirable. This means that the technological concerns

for accessing and discovering the module will be more complex. It will likely require a full computer, as

even a mobile optimized module may not look good or be easy to navigate on a phone sized device. Due

to the interactivity, and depending on the instructional design program used to complete the ultimate

deliverable, it is anticipated that this will be accessed through a web browser, and will likely require

some type of flash plugins. While this slightly limits the accessibility of the module, it will improve the

output and value to learners.

Once accessed, the module will be a standalone lesson. There will be no pre-work associated

with it, although learners may want to view it more than once as they improve. Due to its self-paced

nature, this module can be accessed at any time, and as often as the learner wants, with no constraints.

It is also anticipated that the learner may view the module in chunks, as they intake a portion of the

lesson, pause it to practice, and then continue the lesson. It is also anticipated that the learner is likely

to have the guitar in hand while they watch, and will include an interactive portion where a chord is

played by the module, and the learner plays the corresponding scale.

Task Analysis:

Assuming that the learner has the prerequisite skills of being physically capable of playing a

guitar, there are several tasks that will be covered in the module.

Tasks involved include:

  Identifying the seven tones of a major scale

 Understanding these notes in terms of note (A, B, C), terminology (Root, Tonic), and number

(Major 3rd, Perfect 5th, ect)

 Recognizing the shape that they take on the fretboard

 Basic chord composition

 Associated which fingers will play each note

 Being able to play the complete scale in ascending order

 Being able to play the complete scale in descending order

 Transferring that scale shape to another note.

Situational Analysis:

There are several barriers or challenges that may arise as this module is ingested. Aside from

accessibility issues that may arise on the part of the user, the most likely barrier will be that a learner

isn’t ready for the material. Music theory isn’t easy, and there are a few variables here that can make

things complex. A younger child might have issues with this, even if they have reach the physical

proficiency required, as might someone who is truly having their first exposure to these concepts. . The

knowledge gap could be bridged by later creating a module meant to come first, and start to explain the

most basic components of music theory before we even think about applying them to the guitar.

While this project is purely for fun, it is still a good idea to impose some constraints. The

duration of the video shouldn’t exceed 15 minutes, and the timeframe to create the module should be

no more than 2 weeks. Of course, this will be dependent on the technology platform it is developed in,

but that is a very reasonable timeframe to script, record, and edit, and produce all of the learning

components. Development starts now, and due to the duration of the course, will likely take 7 weeks.

Technology Analysis:
 While the instructional design platform has not yet been selected, there are a number of

components that should be consistent in producing the ultimate deliverable. Some form of ID software

will be required for creating the knowledge checks, and will probably be of use in drafting and

storyboarding as well. This module will also require some audio and video components, and the typical

tool I’d use for these would respectively be Garageband and Camtasia. Created content in these

mediums can be exported and added into the learning module, which will ultimately be exported from

the ID software for online viewing via a web browser.

Summary:

In conclusion, this module will require the learner to be ready and able to learn the application

of music theory to guitar. It will be constructed using several platforms, so that it can ultimately blend

the traditional elearning module with some interactive audio and video components so that the learner

can play along with the module. By ingesting the module, the learner will begin to understand the notes

that form a scale a chord, how they interact, how to transfer them to other notes, and how to play the

scales in a way that they understand. It will take a learner who’s hands have gotten comfortable playing

guitar, and begin to catch up their mind in terms of comprehension.

Development Schedule:

The module in question could be completed in as little as three weeks, with an additional

month of feedback collection before the first Evaluation. The below chart omits any approval

actions required by SMEs to save space, and does not account for any delays that may be caused

by that process.
 Completion Date (7/11 Start) Phase Step Duration

7/14 Analysis Define Goals 4 Days

7/15 Analysis Identify Audience 1 Day

7/20 Design Formulate Objectives 5 Days

7/23 Design Design Exercises 3 Days

7/25 Develop Storyboarding 2 Days

7/30 Develop Create Course Content 5 Days

7/31 Implement Course Goes Live 1 Day

8/31 Evaluate Review Feedback 30 Days

Completion through the design phase will take roughly two weeks, assuming that it is the

instructional designer’s main project, but that they also have other responsibilities and meetings

to attend. Once design work is complete, storyboarding will take place, with an approval phase

from subject matter experts. Next will be the actual design work, which is a combination of

filming short segments of guitar playing, video editing, and embedding those videos into a

classic instructional design format such as Storyline. After a final approval, the module will be

ready to implement.

Course Learning Objectives:

There are five learning objectives that have been identified for the first iteration of the

module. Any additional objectives that are raised by the stakeholders during the development

phase will be considered and incorporated along with evaluation feedback during a potential

second iteration. At this point, the first learning objectives are:

 1) The learner must be able to play the notes of the major scale correctly, and in order, on a

guitar.

2) The learner should be able to play the scale in descending order accurately at the same

tempo as the ascending order.

3) The learner should be able to transfer the scale to other points on the guitar, and

accurately play the new scale.

4) The learner should understand which notes comprise the scale, and be able to recognize

the number of each of the seven corresponding notes.

5) The learner should be able to improvise the order of the notes to form a melody without

playing any notes outside of the scale, and finish the phrase on the perfect fifth.

As viewed above, the first three learning objectives center around the physical proficiency of

learning to play the scale in various forms and locations, while the latter two revolve around

developing an understanding of music theory and the notes that comprise the scale.

Lesson Structure:

The “shape” of the notes in a major scale

How to play the scale

Which fingers play which notes?

What are the names of the notes?

 What are the scale degrees of the notes?

Playing the scale forwards

Playing the scale backwards

Practice a “skipping pattern”

Moving the scale around the guitar

Improvising over common chord progressions

`The above details the activities that are part of the training event. Each is designed to build on

the previous section, culminating in a complete understanding of a major scale, and some

practice and application. The sequence is critical, because it would be difficult for a learner to

skip to the middle. First, we determine what the scale looks like, and how to play it properly.

Once the learner is able to play the scale, the module spends some explaining which notes are

being played, and what degree of the scale they represent. It is important that the learner first be

able to play the scale, because without the physical dexterity to play it, understanding the

components will be frustrating. Once the learner understands how to play the notes, and what the

notes are, then the learner returns to the physical aspect of playing the scale, practicing it in

ascending and descending orders, and is encourages to play them in a skipping order. After the

learner has comfort in playing several variations of the scale’s order, they will practice

transferring that scale to other places on the guitar, also known as changing keys. Finally, with

mastery of the essential concepts surrounding the scale, there will be an activity where the

learner applies the lessons along with some creativity, and improvises along with a recorded

accompaniment.
Activities:

There are several activities that are a part of the learning module. Some of the more

conventional instructional design activities include drag and drop knowledge checks. This will

be used to ensure comprehension, similar to the below storyboard version. These activities are

designed to ensure that some of the lesson’s components are mastered, particularly those that

pertain to the learning objectives.

The below image shows the shape of the major scale, and which fingers play it. Drag and

drop the indicators to identify which notes are the following scale degrees: major thirds, perfect

fifths, and major sevenths.

In addition to knowledge checks like the above, there are very obvious activities that a learner

can undertake to make sure that they are engaged, and start practicing the new skills. These

activities include practicing the guitar. Six of the components of the lesson structure have a

lesson that lends itself nicely to practicing on the guitar before moving to the next component of

the module. On these components, the learner will be instructed to play the desired notes or scale

a few times to make sure that they’ve got it before they move on.
Assessment:

Due to the interactive nature of the described module, some of the learning objectives will be

easier to assess than others. This is because some of them can be captured by knowledge checks,

and will be considered formative evaluations throughout the course. However, the “application”

outcomes will be much more difficult to assess. Something that has been considered is that

learners send in a recording of themselves performing the “application” outcomes, so that an

instructor could assess their skill and provide feedback. This will work if the audience is

narrowed, but if the course is made widely available online, there will not be enough instructor

bandwidth to assess all learners manually. These are largely the summative assessments, as the

instructor would have the chance to assess a student’s mastery of all of the learning objectives. A

potential scalable alternative would simply be for the learner to rate their proficiency in each

learning objective on a Likert scale at the beginning and at the end of the module. While some

accuracy is sacrificed here, that would provide reportable data around improvement and

proficiency for each learning objective.

A more scalable summative assessment would be to present the learner with a final

interactive drag and drop activity. Here, they will be presented with a blank guitar neck, and be

prompted to progressively fill out more and more information surrounding the correct fingering,

notes, and scale degrees. This would capture all of the learning objectives that are not affiliated

with actually playing the guitar, and reporting could be obtained around pass/fail or percentage

correct. Depending on the scenario, this module may be uploaded into an LMS that would

provide additional reporting capabilities.

 Implementation:

This training module will be delivered virtually, and will ideally be included on large

MOOCs as well as specialty sites around music theory. In order to pilot the module, it can be

tested first by people who already have an understanding of the music theory concepts. This will

allow the pilot learners to progress through the lesson quickly with less time spent practicing any

particular learning objective, in order to provide more timely feedback. This audience is also

likely to provide more relevant feedback, as they can act as SMEs during the review process.

Because of the self-paced nature of the module, and the broad scope of potential

audience, it was developed to not require a facilitator or instructor. This reduces any risks around

inconsistencies in facilitating with such a large audience, and also reduces the potential risks

around time-zones, availability of instructors, number of sessions, and even IT obstacles that

come along with a virtual delivery. The self paced nature of the module also reduces the

requirements for the learner to intake the information. Other than access to a guitar and an

internet connection, very little is required to create a positive learner experience. It should be

noted that the primary audience that would view this module is guitar owners, so it is assumed

that nearly 100% of viewers would have the required equipment.

Evaluation:

Due to the wide audience, and the difficulty in measuring both retention and skill, evaluation will

likely be a self-evaluation on the part of the learner. There are knowledge checks throughout the module,

which can collect information on how the learners are understanding and retaining information. One of

the key objectives of this module is to be able to improvise with an accompanying chord, and that will be
very difficult to measure without having each learner record themselves, and dedicating large instructor

resources to reviewing these. Because of the technical effort required on the part of the learner, it is

assumed that this would have a low completion rate, and a self-evaluation was chosen instead. This will

come in the form of a post-module survey, and will address most levels of Kirkpatrick’s learning

evaluation model via a number of questions with a 1-10 scale. The learner will be asked if they would

recommend the module to a fellow guitar student, which satisfies the first level of evaluation. The learner

will be asked how much their understanding of guitar scales has improved, gauging level two, and if how

comfortable they are in improvising. This covers the third level, which is typically measured after some

time has passed. In this instance, the skills will continue to evolve over a period of time, but they learner

should have some level of comfort immediately after completing the module.

Summary:

The described online module will provide beginner guitar players with a self paced journey to

help catch up their comprehension of music theory with their physical ability to play guitar. These two

components are married, and it is easy for guitar players to allow one to get significantly more advanced

than the other. Typically they are physically capable of playing much more complex pieces than they can

understand the composition of. This module walks learners through a simple scale pattern, providing

them an understanding of the notes, scale shapes, and scale degrees required, then pushes them to apply

that knowledge to other scales, and encourages them to demonstrate comprehension by playing along

with a final accompaniment.