Musical Frequency

of the ukulele
Written by Jacqueline Salazar
Included in this chapter:
◊ Ukulele Activity Sheet Part 1: Introduction and History
The history of Hawaiian music is both significant
and relevant to students and educators. One particular
musical instrument that is renowned in Hawaiian music
is the ukulele. In 1879, the ukulele was first introduced
with the inception of Portuguese immigrants from
the island of Madeira (King John). Hawaiians were
particularly impressed by the Portuguese instrument
“ukulele”. Ukulele got its name from Queen Liliʻuokalani
by combining the two Hawaiian words “uku”
(gift or reward) and “lele” (to come) (King & Tranquada,
2003). Before contact with the western civilization,
Hawaiians celebrated nature, their gods and love of life
through the expression of chants and hula. Hawaiian
chants come in two basic styles “Mele oli” are chants
without musical instruments and “Mele hula” are songs
accompanied with dance and musical instruments
(James, 2005).
In the late 19th century Hawaiians developed a steel
guitar which is positioned horizontally and strings are
plucked with one hand, while the other hand changes
the pitch of one or more strings with the use of a bar or
a slide (Greenberg, 1992). This instrument is called the
ki hoʻalu, or Hawaiian slack key guitar, and is truly one of
the great acoustic guitar traditions in the world. Ki hoʻalu
means “to loosen the key”, which is a solo finger picked
style. In this tradition, the strings (“keys”) are “slacked”
to produce many different sounds (Beamer, 2012).
Although, modern Hawaiian music is a combination functions, and linear relationships); and Benchmark
of ancient music and it has modern influences. It is not MA.7.11.1: Data Analysis, Statistics, and Probability (i.e.,
uncommon to hear a new Hawaiian song with compo- pose questions, collect data, select the appropriate repre-
nents of country music (Instant Hawaiʻi, 2008). The sentation graph and display data) (Hawaiʻi Standards
lyrics usually have to do with the places of Hawaiʻi’s love, Database, 2011). Students will learn the basic history
nature, and culture. Thus, Hawaiʻi is so diverse; this diver- of the Ukulele and the importance of the tones. Also,
sity has made its way into the beauty of music. students will identify each string, analyze the three
The knowledge of Hawaiian music goes throughout different tuning (C, G, D), record each chord (Audacity),
the classrooms and it incorporates ethnomathematics. measure the chord’s frequency through Audacity and
Building methods and strategies for students to play the draw a line graph to compare the four string’s frequency.
ukulele will enhance the understanding of math. Thus, Plus, visualizing the Ukulele sound waves through
the link between tradition and music will be exhibited audacity will engage the students to recognize and distin-
through this intercultural exercise in mathematics. guish the patterns of mathematics.
Part 2: Goal of Lesson Plan Part 3: Methodology
Learning the ukulele’s strings and tunings will focus
on the cycle of ethnomathematics and to expand its Basic Data
ideas for future teachers. The goal is to teach seventh To initiate the thought process, the teacher will ask
graders the relationship between ukulele’s four strings What does the word ukulele mean? Is the ukulele origi-
(A, E, C, G) and its frequency (Hz). A 26” Tenor ukulele nally from Hawaiʻi, if not where? What are the differ-
will be played with three different unique tones (G4-C4- ences between “Mele Oli” and “Mele Hula”? After the
E4-A4, A4 D4 F#4 B4, & D4-G3-B3-E4) (Hurd, Costello, discussion of ukulele’s history, the students will engage
& Beloff, 2012). According to the Common Core State in a fun activity and answer each question as a class.
Standards for Mathematics (CCSS), grade seven will The following table is an example how the students will
identify ratios and proportional relationships (7.RP.1, record and write down data.
7.RP.2, 7.RP.3) such as identifying diagraphs, testing
Audacity Data
for equivalent ratios in a table, graphing points, and
relationships between quantities (Common Core State Table 1: Ukulele Frequency
Standards Initiative, 2012). Tuning “C” “G” “D”
Furthermore, this activity corresponds to Hawaiʻi First String A (440 Hz) E (329 Hz) B (493 Hz)
Second String E (329 Hz) B (246 Hz) F# (370 Hz)
Content and Performance Standards III Benchmark
MA.7.10.1-3: Patterns, Functions, and Algebra (i.e., Third String C (264 Hz) G (192 Hz) D (293 Hz)

tables, graphs, graphing technology, equations of linear Fourth String G (196 Hz) D (293 Hz) A (220 Hz)
 To begin, the students will pair up with a partner and
they will identify each chord on the Ukulele’s strings
(shown below).

Graphing
3. Each student will have the opportunity to have
their own data table and start graphing each point. To
have an accurate graph, the students will brainstorm
which graph is appropriate. In this activity, a line graph
is readable and shows the difference of each tone
Photo: Daniel Rodriquez’s Ukulele by Jacqueline Salazar (shown above).
1. The first student will play one string at a time while 4. To make the activity more interesting is to find the
the other student is recording the sound wave through “mean” (example 1) of each tuning and to discuss the
Audacity and switch turns. For instance, the following different tuning. Finding the “mean” will enhance the
example is a recording of chord C (Third String). student to identify the different patterns of frequency
and improvements on arithmetic functions.
2. Once the students stop recording, they will analyze
the frequency by using plot spectrum to make it readable Example 1:
and easier to understand (see below).

a. Go to “Analyze” menu then select “Plot Spectrum”

b. A new window will open (Frequency Analysis) and
set the “Algorithm” to Standard Autocorrelation at the
bottom left (see #1).
c. Place the mouse cursor on the graph to the first ◊ Tuning C = 307.25 Hz
peak or the second peak (see #2) Determine the chord’s ◊ Tuning G = 265 Hz
name and its frequency at the bottom (see #3). ◊ Tuning D = 344 Hz
 Also, the students will have a chance to answer the following question on the activity sheet. These questions will reflect
how Math connects to music and its connection outside the classrooms.
5. Finally, have the teacher to explain the data thoroughly and have a 15-30 minute answer discussion as a class.
Part 4: Conclusion
Music and mathematics are closely connected in many ways such as tone, tuning, frequency, rhythm, and pitch
(Schmidt Jones, p. 2). This lesson plan integrates mathematical knowledge and fundamentals of culture. Music inspires
students with confidence and empowers their intellectual abilities. By introducing students’ cultural heritage it will give
them positive outcomes in life and the importance of the Hawaiian culture. Doing hands on activities it will show the
student to examine, analyze, recognize, and incorporate data without hesitation. In conclusion, the end results will assist
students to internalize their understanding of ethnomathematics and encourage them to ponder the uniqueness of
mathematics.

References
Beamer, K. (2012). A Brief History of Slack Key Guitar. Retrieved from http://www.kbeamer.com/sk_history.html
Common Core State Standards Initiative. (2012). Retrieved from http://www.corestandards.org/the-standards/mathematics/grade-7/ratios-
and-proportional-relationships/
Hurd, D., Costello, R., & Beloff, J. (2012). Tunings for the 4-String Tenor. Retrieved from http://www.ukuleles.com/SetupnCare/TenorTune.
html
Greenberg, M. (1992). The Ukulele in your Classroom. Music Educators Journal, 79(3), 43-49.
Hawaii Standards Database. (2011). Retrieved from http://standardstoolkit.k12.hi.us/index.htm
Heimiller J., Huron, D., Nandini, I., Aarden, B., & Hogland, E. (2002). Where Math Meets Music Ohio University School of Music.
Huron, D., Nandini, I., Aarden, B., & Hogland, E. (2002). Frequency Ratio Theory.
Retrieved from http://www.music-cog.ohio-state.edu/Music829B/ratios.html
Huron, D., Nandini, I., Aarden, B., & Hogland, E. (2002). Consonance and Dissonance. Retrieved from http://www.music-cog.ohio-state.edu/
Music829B/main.theories.html
Halliday, D. & Resnick, R. (2004). Fundamentals of Physics. Hoboken, NJ: Wiley.
Instant Hawaii. (2008). Retrieved from http://www.instanthawaii.com/cgi-bin/hawaii?Music
James, T. (2005). Chanting. Retrieved from http://www.ancienthuna.com/chanting.htm
King, J. & Tranquada, J. (2003). A New History of the Origins and Development of the ‘Ukulele, 1938-1915. Hawaiian Journal of History, 37,
1-32.
Morrison, T. (2011, January 31). A String Thing. Times. Retrieved from http://www.time.com/time/magazine/article/0,9171,2043445,00.html
Schmidt-Jones, C. (2011). Musical Intervals, Frequency, and Ratio. Retrieved from http://cnx.org/content/m11808/1.7/.
 Name: _______________________________________ Date: ______________________

Ukulele Activity Sheet

Directions:

1. Pair up with a partner

• 1st person pluck every string once while the 2nd person records the data and writes it down on
Table 1: “C” Tuning
• Once the 1st person finishes, switch responsibilities and have the 2nd person repeat the same process
while the 1st person records data and writes it down on Table 1: “G” Tuning
• Again switch responsibilities and record + write down data on Table 1: “D” Tuning

2. Draw graphs and connect points (Each person draws their own graphs)

3. Answer the following questions:

• Which String has the highest frequency and at what tuning?
• Which String has the lowest frequency and at what tuning?
• Find the Mean of each Tuning C, G, & D separately and analyze
• Tuning C =
• Tuning G =
• Tuning D =
• What did you notice among the 3 tunings? Were there any surprises?
• Now that you found the frequency of each chord and the Mean, how & why is Mathematics
important in music?

4. Discuss the answers as a class for 15-30 minutes

Table 1. Ukulele Frequency

Tuning “C” Tuning “G” Tuning “D” Tuning
First String
Second String
Third String
Fourth String