Quick 9N Lesson Plans

Lesson Plans for

The Quick Nine-Note

Recorder Method

12 lesson plans, a rubric, & extra duets Developed by Penny Gardner

Author of the Nine-Note Recorder Series

LESSON 1 OBJECTIVES:

Getting acquainted with the recorder

How to hold the recorder

Positioning of hands and fingers

How to play the recorder

Matching pitch

Students will learn three notes (B, A, G) and songs in Part 1 of The Quick Nine-Note Recorder Method

MATERIALS NEEDED:

Recorder for each student (recommend Peripole Angel, Baroque fingering)

The Quick Nine-Note Recorder Method, Part 1

Class fingering charts for B, A, and G displayed (1-3)

PREP for EACH LESSON: Display the required fingering charts. (See classroom management tips at end of this lesson.)

INTRODUCTION: Getting Acquainted with the Recorder: The recorder is an enjoyable instrument to play, partly because it is an easy instrument to learn. It is played around the world by children and by adults. You will be learning from a book called The Quick Nine-Note Recorder Method that is limited to the easiest notes on the recorder and simple rhythms to give you a successful start with making music.

Positioning: LEFT HAND: Your left hand (LH) goes above the right hand on the recorder. Your left thumb covers the hole in the back. Your first finger (pointer) covers the 1st hole, the second finger covers the 2nd hole, and the third finger covers the 3rd hole. Note: the 4th or pinky finger is not used. Keep it above the recorder—no drooping. Make sure your LEFT hand is near the top of the recorder. RIGHT HAND: The right hand thumb ALWAYS supports the recorder. Place the thumb under the recorder so the other right hand fingers are over their proper holes: first finger above the 4th hole, second finger above the 5th hole, and third finger above the 6th hole which is actually two little holes together.

How to Hold: Relax your arms near your sides. Hold the recorder like a clarinet. Place the mouthpiece between your lips. Close your lips lightly around the mouthpiece.

Copyright © 2012 Penny Gardner 1

How to Play: Start each note by saying the sound “d” or “du” with your tongue. Whisper this sound a few times before you start to play. Blow gently—like you are blowing a feather. Playing the soprano recorder is more like breathing than blowing. Do not take a breath with each note; wait for a rest or a breath mark or a repeat sign, if possible.

INQUIRY AND EXPERIMENTATION: What do you think will happen if you blow hard into the recorder? What do you think will happen if you barely breathe into the recorder to make the quietest sound possible? What do you think will happen if some people play loudly and some play very softly at the same time? Discuss with a partner. Give attention signal. Invite one student to cover the holes for B and blow hard for 3 seconds. Invite another student to cover the holes for B and breathe as softly as possible into the recorder for 3 seconds. Were your predictions correct? Now have those two students play together at their respective volume levels. What do you hear? [When over blowing, the tone is sharp. When under blowing, the tone is flat.] Have everyone stand in a circle and finger and play B—not too hard, not too soft, but JUST RIGHT. Have each student play B again individually for about 2 seconds following the teacher and trying to match the teacher’s tone exactly. (Teacher, student, teacher, student. Next person: Teacher, student...)

INSTRUCTION and GUIDED PRACTICE: The Quick Nine-Note Recorder Method, Part 1: First Three Notes Explain TIME SIGNATURE or METER. Every song has a time signature at the beginning. It looks like a fraction. The top number lets you know how many beats are in each measure (the space between two vertical bar lines). The 4 on the bottom of the time signature tells you that the quarter note gets the beat. The songs on this page are in 4/4 time. From page 2 of the book or PDF, play:

“The ‘B’ Song” “The ‘A’ Song” “Dragonflies” [Following the suggested teaching procedure below.] “The ‘G’ Song”

2 Copyright © 2012 Penny Gardner

Play these songs in unison with the whole group or divide into two groups and take turns playing each song. When working on “The ‘G’ Song”, have half of the class play while the other half sings: “Left hand on the top. Yes! Left hand on the top.” Switch roles and repeat. When the songs on page 2 are mastered, divide into two groups to play “The ‘B’ Song” and “The ‘G’ Song” simultaneously as a duet. Play this duet again, switching parts. You may ask volunteers to sing the words. Play “Mary Had a Little Lamb” and “Naka, Naka, Hoi” following the Suggested Teaching Procedure. Additionally for “Naka, Naka, Hoi”: Walk the students through the game saying the Japanese words and doing the actions. Then have half the class play the song as the other half plays the singing game. Reverse roles. Ask for volunteers to play the song while the others sing: “Left hand on the top. Left hand on the top. When you play recorder, put your left hand on the top.” Ask students to notice a difference between Naka and Row Your Boat. Hint, if needed: It has to do with numbers. Invite a student to explain 3/4 time to the class. Pretend to row a boat while rhythmically counting aloud: ONE, two, three. ONE, two, three. Follow the procedure for Row Your Boat. On steps 5 and 6, have half the class play while the other half sings. Do this with all songs that have lyrics. Play or play/sing all the remaining songs on pages 4 and 5 following the suggested teaching procedure below. SUGGESTED TEACHING PROCEDURE: 1. Have student place the top of the recorder against his or her chin. 2. Place hands on the instrument. [Check to be sure that everyone has LH on top.] What is the first note? What is the fingering for that note? Fingers should be ready before teacher starts the count. 3. At a steady speed and observing the rhythmic values, lead the students to simultaneously say the name of the note aloud while covering the proper holes for that note. Chin-playing allows the student to practice and develop finger-brain coordination without anyone hearing if a mistake was made. Teacher should exaggerate the fingering so students can follow but remind them that they should keep their fingers curved and close above the holes of their recorders. The teacher should count to lead them in. (1, 2, Ready, Play. Or for 3/4 time, count: 1, 2, 3, 1, Ready, Play.) 4. Teacher plays the song as the students repeat step 3 (audibly saying the note name as they finger each note). Hearing the tune first helps them with how it should sound. 5. Prepare to play the recorder with fingers in place for the first note. The teacher should count to lead them in. 6. Repeat the song, reminding students to blow “just right” and to match pitch.


Variation for songs with lyrics: Divide into 2 groups. One group plays while the other sings for step 5. Reverse roles for step 6.

Differentiation: Make sure that struggling students are in the group that chin-plays again in step 5 so they have an extra pre-playing rehearsal. Grouping is mixed so there are better players in both groups. If you cannot coax struggling students to play, let them chin-play rather than disengage. They are more likely to participate in independent practice and performance if they are part of a group of 4-6 students rather than a duo. INDEPENDENT PRACTICE and PERFORMANCE: Allow students to play together in pairs or small groups for 3-5 minutes. Their objective is to work on one piece of their choice from Part 1. Circulate to offer one-on-one help and encouragement. Give attention signal. Those who wish to may perform for the class. Performers should each say their name and the name of the piece; when done playing, they should smile and take a bow. Practice being a good audience by listening attentively and applauding. CLOSURE: You have learned how to play 3 notes on the recorder and to match pitch. You have learned several songs. Next time, you will learn just one new note and put your right hand to work. You are making good progress!

Note: You may not have time to listen to everyone who wants to perform. Make sure those who did not get a turn this time are first to perform during the next class.

CLASSROOM MANAGEMENT TIPS: Post rules. (See example.)

Establish routines and procedures for recorder class.

Establish an attention procedure. I recommend “Quiet Coyote,” in part because it prepares students for the trickiest fingering in this method. Teacher says, “Come back together,” while raising LEFT arm out to the side rather slowly in an arc. By the time her hand is raised for silence, the thumb and two middle fingers should be touching. This forms a circle or the coyote’s head while the pointer and pinkie fingers are the ears. As soon as students are aware of the signal, they stop discussing or playing and mirror the teacher by raising their RIGHT arm slowing in an arc and forming the “Quiet Coyote.”

If you purchase the Peripole Angel soprano recorder (Baroque fingering), it comes with a hanger or necklace. This frees the students’ hands so recorders don’t get mixed up.


LISTEN when teacher or student speaks.

ACCEPT and encourage others.

STOP when you see the signal.

TRY, try again.


Review Lesson 1

Students will learn a new note, E

Play songs in Part 2 of The Quick Nine-Note Recorder Method

MATERIALS NEEDED:

Recorder for each student


Class fingering charts for B, A, G, and E (1-4) PREP: Always display needed fingering charts. Write on board: rain, pour, old, snore. INQUIRY: Chant while moving hand up a step on each word: Every Good Bear Dances. Repeat. Pair share: What does this chant and movement have to do with music? …Give the attention signal. Call on a student to explain the chant while modeling the actions. INTRODUCTION and REVIEW: Today we will learn one new note, E, and several songs. But first let’s sing: “It’s Raining,” stomping on the words you see on the board. Here’s a G. Ask students to recall main points about these topics: Positioning: LEFT HAND: On the top. RIGHT HAND: The RH thumb ALWAYS supports the recorder. FINGERS: Should be gently curved and hovering just above the correct holes. How to hold the recorder: Relax your arms near your sides. Place the mouthpiece between your lips (don’t bite the recorder). Close lips lightly around the mouthpiece. How to play: Start each note by saying the sound “d” or “du”. Blow gently—like you are blowing a feather. Playing the soprano recorder is more like breathing than blowing. How to sound good: Blow “just right” and match pitch. INSTRUCTION and GUIDED PRACTICE: The Quick Nine-Note Recorder Method, Part 2: New Note “E”

Have students place fingers on G, confirming that students have the LEFT hand on top. Ask students to look at the fingering chart and add the fingers needed to make E. Play “The ‘E’ Song” in unison, matching pitch.

Practice lifting and putting down the 1st and 2nd fingers of the right hand at exactly the same time in a steady tempo while saying the note names. Then play G, E, G, E, G, E.


Chant for LINES: “Every Good Bear Dances.” Raise hand one step on each word. Repeat. Follow the Suggested Teaching Procedure (below) for “Rain, Rain Go Away” on page 5. At step 5, have half of the class sing while the others play. On step 6, switch roles. Singers can practice fingering the note as they sing. INQUIRY: What happens if you try to stress the word “it’s” in the song, “It’s Raining”? What conclusion can you draw from this attempt? What is a pick-up? Can you think of a song or nursery rhyme that starts with a pick-up? Tell your neighbor and see if he/she agrees. Give the attention signal. Chant or sing “It’s Raining.” Stomp or clap when you say a word that is in the list. Follow the suggested procedure to teach “It’s Raining.” Lead students to clap this rhythm: Long, short, short; Long, short, short. (Half note, quarter, quarter.) The long note should be accented and the two short claps should be softer. Have students continue this clapping pattern while teacher plays “Hiding the Stone” on page 5. Then follow the teaching procedure for this song but omit step 4 since you have already played the song for them. Invite 2 students to play hand drums, changing percussionists each time. Play the songs on page 6 following the procedure. Add percussion on “The Fox” and other songs as desired. Teach about repeat signs. SUGGESTED TEACHING PROCEDURE: 1. Have student place the top of the recorder against his or her chin. 2. Place hands on the instrument. [Check to be sure that everyone has LH on top.] What is the first note? What is the fingering for that note? Fingers should be ready before teacher starts the count. 3. At a steady speed and observing the rhythmic values, lead the students to simultaneously say the name of the note aloud while covering the proper holes for that note. Chin-playing allows the student to practice and develop finger-brain coordination without anyone hearing if a mistake was made. Teacher should exaggerate the fingering so students can follow but remind them that they should keep their fingers curved and close above the holes of their recorders. The teacher should count to lead them in. (1, 2, Ready, Play. Or for 3/4 time, count: 1, 2, 3, 1, Ready, Play.) 4. Teacher plays the song as the students repeat step 3 (audibly saying the note name as they finger each note). Hearing the tune first helps them with how it should sound. 5. Prepare to play the recorder with fingers in place for the first note. Count to lead in. 6. Repeat the song, reminding students to blow “just right” and to match pitch.


INDEPENDENT PRACTICE and PERFORMANCE: Allow students to play together in pairs or small groups for 3-5 minutes. Their objective is to work on one piece of their choice from Part 2; encourage percussion and/or singing. Circulate to provide scaffolding and encouragement. Give the attention signal. Students may perform for the class. Practice procedures of performing and being the audience. (Performers should say their names and the name of the piece; when done, smile and take a bow. Audience listens and applauds.) Teacher makes a specific observation and thanks the performers. (The feedback must be specific and sincere. Examples: You started together. You were mostly in tune with each other. You played all the right notes. Your rhythms were accurate. Good phrasing. You kept your fingers close to the recorder. I heard a “du” at the beginning of each note.) Differentiation: Make sure that struggling students are in the group that chin-plays an extra time. Grouping is mixed so there are better players in both groups. If you cannot coax struggling students to play, let them chin-play rather than disengage. They are more likely to participate in independent practice and performance if they are part of a group of 4-6 students rather than a duo. Offer extra support to these students during independent practice each day. CLOSURE: Now you can play 4 notes on the recorder and even more songs. Next time, you will learn one new note and you will be making harmony. Good progress! (Or other sincere, positive observation.) [Note: Remember, you may spend more than one class period on each lesson, if needed. Each new lesson builds on the previous lesson so teach each lesson for mastery.]



Review concepts and songs from Lesson 2

Learn a new note: “D”

Learn about accents and how observing natural accents, phrasing (breathing in logical places), and tonguing will lead to playing musically

Develop ensemble playing skills while playing duets


MATERIALS NEEDED:



Class fingering charts for B, A, G, E, and D (1-5) INTRODUCTION and REVIEW: Today we will learn the lowest note in this book, D. We will also play a special kind of song that starts with the letter d. Review any problems that were observed during the last class. Ask a student to choose a song from Lesson 2 as a warm-up. INQUIRY and EXPERIMENTATION: Look at the fingering chart for Low D. Experiment to find out what happens if you blow very hard while playing this note. What happens if even one of your fingers does not completely cover a hole? How can you purposely change octaves? Do you some advice on how to play low D? [Blow gently; aim airstream low; tuck chin down a bit; cover holes completely.] …Give the attention signal to come together. Call on students to share what they discovered. INSTRUCTION and GUIDED PRACTICE: The Quick Nine-Note Recorder Method, Part 2: New Note Low D Play “The D Song.” Take turns matching pitch to the teacher while playing a D. Place recorder on chin. Then practice raising and lowering all 3 RH fingers exactly together to ingrain the G-D-G-D pattern, while naming the notes as you place the fingers. Then play these notes, cleanly attacking with “du”. Follow the Teaching Procedure to teach “Old Ship Zion.” Notice the 2-beat pick-up. To lead them in, count “1, 2, 3, 4, Ready, Play.”


SUGGESTED TEACHING PROCEDURE: 1. Have student place the top of the recorder against his or her chin. 2. Place hands on the instrument. [Check to be sure that everyone has LH on top.] What is the first note? What is the fingering for that note? Fingers should be ready before teacher starts the count. 3. At a steady speed and observing the rhythmic values, lead the students to simultaneously say the name of the note aloud while covering the proper holes for that note. Chin-playing allows the student to practice and develop finger-brain coordination without anyone hearing if a mistake was made. Teacher should exaggerate the fingering so students can follow but remind them that they should keep their fingers curved and close above the holes of their recorders. The teacher should count to lead them in. (1, 2, Ready, Play. Or for 3/4 time, count: 1, 2, 3, 1, Ready, Play.) 4. Teacher plays the song as the students repeat step 3 (audibly saying the note name as they finger each note). Hearing the tune first helps them with how it should sound. 5. Prepare to play the recorder with fingers in place for the first note. The teacher should count to lead them in. 6. Repeat the song, reminding students to blow “just right” and to match pitch. Clap the rhythm of “Hunting Song”; make sure the clap on the first beat of each measure is louder than the claps on beats 2 and 3. In 3/4 time, the accent is on the first beat of each measure. Do not clap on the rests. Do not stress or accent the pick-up note at the beginning of the song or in two other measures where there is a pick-up note following the rest. Refer to the teaching procedure as class learns to play “Hunting Song.” Observe accents to keep an obvious 3/4 meter going. INQUIRY: What is different about the song, “There Came Three Dukes” on page 9? What is the D word? Pair share. …Give the signal to come together. Call on students to share. This is our first duet. A duet has a melody, or song, on the top line of the system. Track the melody with two fingers to see what lines to play. The bottom line of each system is the harmony. Track the harmony (only the bottom line of each system) with two fingers to see what lines of the music to play. Play the duets on page 9 and 10 following the teaching procedure below for duets.

SUGGESTED TEACHING PROCEDURE for duets and rounds: 1. Clap the rhythm of the melody while marching in place, if rhythm is challenging. 2. Place hands on the instrument. [Check to be sure that everyone has LH on top.] What is the first note of the melody? What is the fingering for that note? Fingers should be ready before teacher starts the count. 3. At a steady speed and observing the rhythmic values, lead the students to simultaneously say the name of the note aloud while covering the proper holes for that Copyright © 2012 Penny Gardner 9

note. Teacher should exaggerate the fingering so students can follow but remind them that they should keep their fingers curved and close above the holes of their recorders. The teacher counts to lead them in. (1, 2, Ready, Play. For 3/4, count: 1, 2, 3, 1, Ready, Play.) 4. Teacher plays the song as the students repeat step 3 (audibly saying the note name as they finger each note). Hearing the melody first helps them with how it should sound. 5. Divide into 2 groups. One group plays the melody in unison while the other group sings and/or chin-plays. Repeat the song, switching roles. 6. Play the harmony in unison as a whole class. 7. Play the duet or round in parts. Play again with groups switching roles.

Differentiation: Struggling students have a choice of playing, chin-playing, percussion, or singing if the song has lyrics. Offer extra support during independent practice. INDEPENDENT PRACTICE, PERFORMANCE, and ASSESSMENT: Allow students to play together in pairs or small groups for 4-6 minutes. Their objective is to work on one piece of their choice from Part 3. Be creative in presentation. (Examples: Play the melody of a duet as a solo or all together then repeat the song as a duet without losing a beat; a percussion intro; a verse that includes singing as well as playing.) Circulate to offer help. Give the signal to come together. Students may perform for the class. Practice procedures of performing and being the audience. (Performers should say their names and the name of the piece; when done, smile and take a bow. Audience listens then applauds.) Teacher makes one specific observation and thanks the performers. CLOSURE: Now you can play 5 notes on the recorder and duets. Next time, you will learn something new but it won’t be another note. Good progress!

(Note: Remember, you may spend more than one class period on each lesson, if needed. Each new lesson builds on the previous lesson so teach each lesson for mastery.)



Review concepts and songs from Part 3

Learn a new rhythm and a new meter


Assessment using rubric to determine if class is ready to move on to Part 5

MATERIALS NEEDED:



Class fingering charts for B, A, G, E, and D (1-5) INTRODUCTION and REVIEW: You have learned 5 notes and had fun playing some duets. No new note today. Instead, we will learn a new rhythm. But first, who has a favorite song from lesson 3 so we can warm up? INQUIRY: Why is “Hot Cross Buns” in this book twice? What’s the difference between the version on page 11 and the one on page 4? Pair share. …Give the signal to come together. Call on students to share what they discovered. INSTRUCTION and GUIDED PRACTICE: The Quick Nine-Note Recorder Method, Part 4: New Rhythm—Eighth Notes We will walk and sing; each step we take is a quarter note. Here’s a B. One, two, ready, go. (Walk one step with each word as count them in.) Lead the class to sing “Hot Cross Buns” on page 11 as they walk in place or follow the teacher around the room. Eighth notes get half a beat. When 2 eighth notes are together, their flags are connected in one straight line across. Slap an even beat on your legs with one hand and then the other while you count “Hot Cross Buns.” Your hand goes down on the numbers an up on “and.” The arrows below the lyrics show the down and up beats. You may say “tah-tay” or “ti-ti” instead of “one and.” Slap your lap as you chant or sing. Play the song 2 or 3 times. Students slap their laps with one hand and then the other in a steady rhythm while teacher plays “Frog Went a-Courting”. Divide into 2 groups. One group plays the song while the others slap their laps and sing the lyrics and/or the diddles. Switch roles.


NEW METER: The next four songs are in 2/4 time. The top number of the time signature lets you know that there are 2 beats in each measure. The accent is on the 1st beat of the measure. The leader will count “One, two, ready, play” to lead you in. Play the remaining songs in this lesson following the Suggested Teaching Procedure. To differentiate, allow struggling students to chin play an additional time. SUGGESTED TEACHING PROCEDURE: 1. Clap the rhythm of the song while marching in place, if rhythm is challenging. 2. Teacher plays the song as students chin-play, saying the note names. 3. Divide the class into 2 groups. One group plays the song; the others chin-play while saying note names aloud, or sing, or play singing game. 4. Repeat the song, switching roles.

[If duet, continue to steps 5 and 6.] 5. Play the harmony in unison. 6. Play the duet or round in parts. Play again with groups switching parts. INDEPENDENT PRACTICE, PERFORMANCE, and ASSESSMENT: Allow students to play together in pairs or small groups for 4-6 minutes. Their objective is to work on one piece of their choice from Part 4. Be creative in presentation. (Examples: Play the melody of a duet as a solo or all together then repeat the song as a duet without losing a beat. Other possibilities are: a percussion intro; a verse that includes singing as well as playing.) Circulate to offer scaffolding and encouragement. Give attention signal. All students will perform for the class as a solo or in pairs so teacher can assess using the rubric. Practice procedures of performing and being the audience. Teacher makes one specific observation and thanks the performers. Teacher will determine if class is ready to proceed or if more time is needed for mastery. If necessary, spend one or two more class periods to re-teach and improve skills by playing the songs in the previous lessons before continuing on to Lesson 5. Adapt closure to reflect this, keeping it positive. Ex: “Next week, we’ll play our favorites.”

CLOSURE: [When ready to advance] Now you are gaining speed and coordination. Keeping your fingers close to the recorder will allow you to play even faster.

Here’s a riddle about our next lesson. (Don’t give it away if you know the answer.) What do a bunny, a long horn, and a coyote have in common? Good progress! (Or other sincere, positive observation.)


Note to teacher: If you teach a young class, or if you have limited time and can only do a short unit on recorder, this would be a good place to stop. It is better to play a segment of the book well, than to rush through as much material as possible without mastering each skill. Take another week or two to polish playing and prepare a concert.

The next note is quite challenging. To be successful with it, you need at least two or three more weeks to do the next two lessons and prepare a concert. There are other logical places to stop instruction before the end of the book, as noted in the lesson plans.

The culminating event at the end of the recorder unit is a public performance for parents. Invite students in the next lower grade to attend the concert so they will look forward to what they will learn in music next year.


Review concepts and songs from Lesson 4

Learn new note: F# (F sharp)

Develop coordination to switch between F# and E

Students will become aware of the form of songs

Students will be able to identify if a song is major or minor


MATERIALS NEEDED:



Class fingering charts for B, A, G, E, D, and F# (1-6) INTRODUCTION: Call on students who have an answer to the riddle: What do a bunny, a long horn, and a coyote have in common? Hold up your right hand. Make a circle with your two middle fingers touching your thumb. Your pointer and pinky fingers should be a little higher but still curved. That’s the answer to the riddle, F sharp! When you see an F in this book, it will be an F#. INSTRUCTION and GUIDED PRACTICE: The Quick Nine-Note Recorder Method, Part 5: New Note F sharp Hold the recorder with your LEFT hand on the top. Cover the holes for G. Then use the correct fingers on the correct holes for F sharp. Do a partner-check to be sure each of you are matching the fingering chart diagram. Play “The ‘F Sharp’ Song,” matching pitch. Copyright © 2012 Penny Gardner 13

Work in pairs: One partner places recorder on chin. The other partner gently holds the player’s middle finger down so it does not lift off the hole. The playing partner slowly and deliberately practices switching between F# and E. Walk your other two fingers so that one covers the hole exactly when the other pulls off. Make your finger action very precise; say the note names aloud. The helping partner gives feedback. Switch roles.

Give the attention signal. Play the switching exercise (p. 13) very slowly with half the class while the others chin-play and call out note names. Switch roles. Play 3rd time with everyone. Keep your middle finger firmly down and be precise with finger movement.

Chants for reading music with hand actions: “Every Good Bear Dances.” “The spaces spell the word ‘face.’ F-A-C-E.” (Hand steps up on each letter.)

Play the songs in Part 5 through page 15. When you reach page 14, discuss form and major and minor keys, as explained in the book. From this point forward, bring up these important concepts of form and modality as you listen to music or play recorder.

SUGGESTED TEACHING PROCEDURE: 1. Clap the rhythm of the song while marching in place, if rhythm is challenging. 2. Teacher plays the song as students chin-play, saying the note names. 3. Divide the class into 2 groups. One group plays the song; the others chin-play while saying note names aloud, or sing, or play singing game. 4. Repeat the song, switching roles. [If duet, continue to steps 5 and 6.] 5. Play the harmony in unison. 6. Play the duet or round in parts. Play again with groups switching parts. INQUIRY: After playing the songs on page 15: Which song sounds very different from the other 3 songs? Why? (At end of lesson, ask which duet sounded different and why.)

INDEPENDENT PRACTICE, PERFORMANCE, and ASSESSMENT: Allow students to play individually, together in pairs, or small groups for 4-6 minutes. Their objective is to work on one piece of their choice from Part 5. Circulate to offer help. Give attention signal. Students may perform for the class in pairs or small groups. Practice procedures of performing and being the audience. Self-assess: What is one thing you are pleased with? What is one thing you want to improve? Teacher thanks the performers.

CLOSURE: What a tricky note F sharp is! You can practice the switching exercise without a recorder. Simply place your RH fingers on your left wrist. Then make the circle with your 2 middle fingers and thumb. Keep the middle finger down firmly while walking the 1st and 3rd fingers. Let’s do it together. Be precise. Do your wrist homework anywhere and often. Next time, we will learn the rest of the songs in this section of the book with F sharp and we’ll learn a new rhythm. Good progress!



Review F# and work on precision and speed between F# and E

Learn a new rhythm: dotted quarter note

Become familiar with endings; be able to track how to play a piece with endings

Play songs in Part 5 and 6 of The Quick Nine-Note Recorder Method

Formal assessment using rubric to determine if ready to progress

MATERIALS NEEDED:


The Quick Nine-Note Recorder Method, Part 5 and 6

Class fingering charts for B, A, G, E, D, and F# (1-6) INTRODUCTION and REVIEW: Chants: “Every Good Bear Dances.” “The spaces spell the word ‘face.’ F-A-C-E.” Play the Switching exercise, matching pitch. Play “Song in E Minor,” reviewing form and major/minor. Ask for a favorite song from page 13-15. INSTRUCTION and GUIDED PRACTICE: The Quick Nine-Note Recorder Method, Part 5: New Note F sharp Part 6: Dotted Quarter Note Rhythm Work through the rest of the songs in Part 5 following the suggested teaching. SUGGESTED TEACHING PROCEDURE: 1. Clap the rhythm of the song while marching in place, if rhythm is challenging. 2. Teacher plays the song as students chin-play, saying the note names. 3. Divide the class into 2 groups. One group plays the song; the others chin-play while saying note names aloud, or sing, or play singing game. 4. Repeat the song, switching roles. [If duet, continue to steps 5 and 6.] 5. Play the harmony in unison. 6. Play the duet or round in parts. Play again with groups switching parts. INQUIRY: When a note is dotted, it is half again as long as that note’s original value. In “Row Your Boat,” and other songs in 3/4, how many beats did the dotted half note get? Discuss with a partner how many beats a dotted quarter note would get? There’s math in music. Do this algebra: 1 ½ + a = 2 a = ?


New Rhythm: Dotted Quarter Note. March in place while clapping the rhythm and chanting the words to “London Bridge.” Chin-play “London Bridge” being very precise with the rhythm. Play this song on your recorder. Play the songs in Part 6 following the suggested teaching procedure (on previous page of this lesson). Teach about endings on “Jingle Bells.” Have students verbalize while tracking with two fingers. “I go through the song until the repeat sign (double dots), then I go back to the beginning following the music until the 1st ending. I skip over the first ending to track the 2nd ending.” INDEPENDENT PRACTICE, PERFORMANCE, and FORMAL ASSESSMENT: Allow students to play individually or in pairs for 4-6 minutes. Their objective is to work on one or two pieces from Part 5 or 6 in preparation for the assessment. Circulate to offer help and encouragement. Give attention signal. Give attention signal. All students will perform for the class as a solo or in pairs so teacher can assess using the rubric. Practice procedures of performing and being the audience. Teacher makes one specific observation and thanks the performers. Teacher will determine if class is ready to proceed or if more time is needed for mastery. If necessary, spend another class period to re-teach and improve skills by playing the songs in the previous lessons before continuing on to Lesson 7. Adapt closure to reflect this, keeping it positive. Ex: “Next week, we’ll play our favorites.” CLOSURE (if ready to continue): Continue doing your wrist homework. You are ready to learn a new note when I SEE you next time. Good progress! (Or other comment.) Note: This is a good place to stop, if time is limited. Take a couple weeks to prepare a culminating event, a concert for parents and students in the next lower grade. If you plan to go through the entire book, it may be time to start making arrangements for the concert—perhaps a holiday concert before Christmas break.



Review concepts and songs from Part 5 and Part 6

Learn a new note: C


MATERIALS NEEDED:



Class fingering charts for B, A, G, E, D, F#, and C (1-7) INTRODUCTION and REVIEW: Chants: “Every Good Bear Dances.” “The spaces spell the word ‘face.’ F-A-C-E.” Ask for two favorite songs from Part 5 or 6 as a warm-up.

I SEE that today we have a new note to learn. Any guesses? Hold up your LEFT hand and touch your middle finger to your thumb. Apply this fingering to your recorder. Use your RH to support the recorder and be ready to use those RH fingers to play low notes. INSTRUCTION and GUIDED PRACTICE: The Quick Nine-Note Recorder Method, Part 7: New Note: C New Note C: Here you will learn to play C. The spaces on the staff spell the word “____.” Notice that C is in the space just above the middle line for B. Play “The ‘C’ Song,” matching pitch.

Play the songs in Part 7 following the suggested teaching procedure on page 15.

INDEPENDENT PRACTICE, PERFORMANCE, and ASSESSMENT: Allow students to play individually, with a partner, or in a small group for 4-6 minutes. Their objective is to work on one piece of their choice from Part 7. Circulate to help. Give attention signal.

Invite students to perform, practicing etiquette. Ask performers to self-evaluate: What are two things you did well? What is one thing you want to work on and improve? Teacher gives an observation and thanks the performing students. (Or formal assessment)

CLOSURE: If need more practice, play favorites next lesson. When ready to move on: Next class, we will learn another new note, high D. Good progress! (Or other sincere, positive observation.)

Note: This is a good place to stop, if time is limited. Take a couple weeks to prepare a concert.



Review concepts and songs from Part 7

Learn a new note: High D


MATERIALS NEEDED:


The Quick Nine-Note Recorder Method, Part 7 and Part 8

Class fingering charts for B, A, G, E, D, F#, C, and high D (1-8) INTRODUCTION and REVIEW: Ask for 2 or 3 favorite songs from Part 7 to play as a warm-up.

Today we have another new note to learn, high D. Cover the holes for C (thumb and middle finger), now take the LH thumb off the hole. This is the only note we do not cover the thumb hole. INQUIRY: Can you discover another way to play high D? [Hint? Low D.] …Give attention signal. INSTRUCTION and GUIDED PRACTICE: The Quick Nine-Note Recorder Method, Part 8: New Note: High D New Note High D. Chant: “Every Good Bear Dances.” Take turns matching the teacher’s pitch as we play high D. Together, play “The ‘High D’ Song,” matching pitch. Play Part 8 songs following the teaching procedure (page 15). It may take two class periods to cover this material thoroughly. If so, you may want to formally assess next week. INDEPENDENT PRACTICE, PERFORMANCE, and ASSESSMENT: Allow students to play individually, with a partner, or in a small group for 4-6 minutes. Their objective is to work on one piece of their choice from Part 8. Circulate to offer help. Invite students to perform, practicing procedures. Performers self-evaluate: What are two things you did well? What is one thing you want to work on and improve? Teacher gives a specific observation and thanks the students. CLOSURE: Next class, we will learn our last new note, high E. Good progress!



Learn a new note: High E


MATERIALS NEEDED:



Class fingering charts for B, A, G, E, D, F#, C, high D, and high E (1-9)

REVIEW and INTRODUCTION: Chants: “Every Good Bear Dances.” “The spaces spell the word ‘face.’ F-A-C-E.” Ask for a couple favorite songs from Part 9 for a warm-up.

Today we will learn a new note high E. Cover the holes for low E, now leave a crack in the thumbhole. You may move the thumb a little, or you may put your thumbnail into the hole. Experiment for one minute to see what works better for you.

Play the “High E Song,” matching pitch. Let’s play the octave skips on page 26 together.

INQUIRY and EXPERIMENTATION: Play low E. Can you find a way to play up an octave (high E) without changing fingering? If you can, share your trick with a neighbor. …Give attention signal.

INSTRUCTION and GUIDED PRACTICE: The Quick Nine-Note Recorder Method, Part 9: New Note: High E

Ask a student to tell the correct fingering for high E and advice for playing the note well. Stand in a circle; take turns matching pitch to the teacher’s high E.

Play songs in Part 9, following the teaching procedure (page 15).

INDEPENDENT PRACTICE, PERFORMANCE, AND ASSESSMENT: Allow students to play individually, with a partner, or in a small group for 4-6 minutes to work on one or two pieces from Part 9. Circulate to offer support. Give attention signal.

Invite students to perform, practicing procedures. Performers self-evaluate: What are two things you did well? What is one thing you want to work on and improve? Teacher gives a specific observation and thanks the students.

CLOSURE: Whole class performs “The Holly and the Ivy”. This is just one of the holiday songs that we may perform at our concert. Next week, you will get 6 extra songs.



Learn six holiday songs to play in the concert

Choose pieces and start preparing them for the concert MATERIALS NEEDED:


The Quick Nine-Note Recorder Method; copies of Christmas songs from Appendix

Class fingering charts for B, A, G, E, D, F#, C, and high D (1-8) PREP: Make copies of the Christmas songs from the Appendix of this Lesson Plan booklet. Write this list on the board Hanukkah, p. 16; Jolly Old St. Nicholas, p. 17; We Wish You a Merry Christmas, p. 21; The Holly and the Ivy, p. 29; draw a line or start a new column with: Ring Out the Bells; Winter Has Passed; Good King Wenceslas; My Dancing Day; Ding, Dong, Merrily on High; Stars Were Gleaming; Jingle Bells; The Bird’s Carol; Up on the House-Top. INTRODUCTION and REVIEW: Play holiday songs (list on board) from The Quick Nine-Note Recorder Method to warm-up. Today we will play more holiday songs and prepare for our Christmas concert. INSTRUCTION and GUIDED PRACTICE: Copies of the extra duets from the appendix. Play songs in Appendix, following the suggested teaching procedure on page 15. When done, choose two duets from the warm-up or the appendix to perform as an ensemble. Place a check mark and ensemble or all by the titles on the board. INDEPENDENT PRACTICE: Allow students to play with a partner or in a small group for 8-10 minutes. Their objective is to work on a holiday piece that they will perform at the concert (but not the selected ensemble duets). Students write their names on the board by their chosen piece so there are no duplicates. They may choose a non-holiday duet from the method book and write that title and the group members on the board. Teacher circulates to offer help and suggestions. CLOSURE: Whole class performs the selected ensemble duets. Play particular attention to listening to others and matching pitch.



Work on holiday songs to play in the concert MATERIALS NEEDED:


Nine-Note Recorder Method

Copies of songs from Appendix

Class fingering charts for B, A, G, E, D, F#, C, high D, and high E (1-9)

Program for concert PREP: Teacher prepares a draft of the program for the concert. INTRODUCTION and REVIEW: Play the selected ensemble pieces to warm-up. Decide how to perform them (singing, intro, melody only once, percussion, and so on) Today we will spend a few minutes working on the small group pieces. Then we’ll run through the program once. INDEPENDENT PRACTICE: Their objective is to work on their concert piece with their partner or small group. Teacher should conference with teams to offer suggestions. Give the attention signal. Have students sit as for the concert, being right next to their partner or teammates. DRESS REHEARSAL and ASSESSMENT: Run through the program as tentatively outlined. Small groups stand as they play their pieces, then bow and sit down. Everyone remains seated for ensemble pieces. At the end of the run-through, everyone stands and bows. DISCUSSION: Were there any logistical problems? Were the songs nicely balanced so the slow pieces have a lively piece near them? What changes in the program would improve our concert? How can we improve our performance of the music? CLOSURE: Whole class performs the selected ensemble duets as determined. Pay particular attention to listening to others and matching pitch.



Prepare holiday songs to play in the concert

Dress rehearsal for the concert MATERIALS NEEDED:


Nine-Note Recorder Method

Copies of songs from Appendix

Class fingering charts for B, A, G, E, D, F#, C, and high D (1-8)

Program for concert PREP: Teacher prepares a final draft of the program for the concert. INTRODUCTION and REVIEW: Play the selected ensemble pieces to warm-up. Today we will take a few minutes to work on the small group pieces. Then we’ll spend the remainder of the class on a dress rehearsal for our Christmas concert. INDEPENDENT PRACTICE: Their objective is to work on their concert piece with their partner or small group. Teacher should conference with teams to offer suggestions. Give the attention signal. Have students sit as for the concert, being right next to their partner or teammates. DRESS REHEARSAL and ASSESSMENT: Run through the program as outlined. Small groups stand as they play their pieces, then bow and sit down. Everyone remains seated for ensemble pieces. At the end of the run-through, everyone stands and bows.

DISCUSSION: How can we improve our performance?

DRESS REHEARSAL: Run through the program again—twice, if time allows. CLOSURE: Go over info and expectations for performance. Break a leg!


Rubric for Playing Recorder Name _______________________ Date ____________

SKILL Mastery Learning Needs to improve

Posture & breath support

Sits up straight or stands tall with both feet planted. Breathes from below ribs. Has a relaxed and open throat for a smooth tone. Head is held high and chin is slightly dropped. Able to play a moderately long phrase with one breath.

Sometimes slumps. Shoulders may rise, indicating that breath is not supported from the diaphragm.

Mostly slumps. Poor breath support, shallow breaths, and inability to play a phrase in one breath.

Hand & finger positions

Automatically picks up recorder with LH on top. Both hands are always on the recorder with the RH thumb providing support. Pinkies do not droop. Fingers are curved and held just above the holes. Uses fleshy pads near fingertips to cover holes completely.

Sometimes holds the recorder with RH on top instead of left. Fingers are not curved. Fingers are not close to the recorder. Holes are not always completely covered.

Mostly uses incorrect hand positions unless specifically told to put LH on the top. Fingers are not in line with the proper holes. Fingers are not held properly curved and close to the recorder. Looks at recorder to find the holes.

Melody & rhythm

Plays the correct notes and rhythms nearly all the time. Even, steady tempo throughout piece. Song is recognizable.

May play correct notes but not the correct rhythm, or has good rhythm reading skills but is unsure of fingerings for notes. Tempo is uneven.

Has to think about fingering. Many mistakes and pauses with both rhythm and note playing making the melody unrecognizable.

Sight reading Able to play an unfamiliar piece that correlates to progress through Nine-Note Recorder Method with 2 or fewer mistakes.

Able to play an unfamiliar piece that correlates to progress through Nine-Note Recorder Method but has several mistakes or inaccurate rhythms.

Not able to play an unfamiliar piece on own or attempts to play it but melody is unrecognizable.

Musicianship Matches pitch with partner; uses “du” to attack each note; uses diddles to play musically; phrases music by breathing at logical places; naturally accents strong beats.

Is sometimes in tune with partner; tonguing is mostly used but note attack is not always precise; may have a choppy sound; phrasing needs improvement.

Is mostly not in tune with partner (over or under blows); has sloppy attack or slurs notes; takes a breath before each note; is unaware of phrasing.

Performance Body language shows self-confidence in ability; poised; recovers from mistakes and keeps going; makes eye contact, states name and name of the piece clearly; bows. Respectful when others perform. May coach and encourage peers.

Is nervous but goes through with it; may start over or not recover from mistakes; does not make eye contact or speak loudly enough when addressing audience; may forget to bow. Is mostly respectful when others perform.

Refuses to perform solo or as part of a duet. May agree to perform in a group with at least 3 others. Assessment has to be done in a private setting.

Copyright © 2012 Penny Gardner Permission to reproduce for educational purposes.

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Cowboy Jack Traditionalarr. Penny Gardner

Copyright © 2013 Penny Gardner Appendix, page 1 Nine-Note Recorder Method Lesson Plans

Jolly Old Saint Nicholas Traditionalarr. Penny Gardner

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Cowboy Jack Traditionalarr. Penny Gardner


Jolly Old Saint Nicholas Traditionalarr. Penny Gardner

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Whence, O Shepherd Maiden French-Canadian carolarr. Penny Gardner


Little Jack Horner Traditionalarr. Penny Gardner

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Copyright © 2013 Penny Gardner Appendix A, page 4 Nine-Note Recorder Method Lesson Plans

ROUNDS: These songs are rounds. When you can play the tune well, divide into 4 groups. Each group starts when the previous group reaches the *. Play rounds in unison as a solo or small group once and then play as a round 3 times through. Challenge: Can you make up lyrics for the round below so you could sing it?

The Little Bells of Westminster

Thomas Tallis, 16th century

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Once I Loved a Maiden Fair from Playford's Dancing Masterarr. Penny Gardner

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Come With Me, My Giselle Adam de la Halle, 13th centuryarr. Penny Gardner

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.˙men!

.˙

.˙

Ring Out the Bells W. A. Mozart


Trio for 3 people or groups. Play the dotted half notes like a bell ringing: loud on the attack but quickly get softer. Leave a little space, like an eighth note rest, between long note.

&

&

#

#

43

43œTo

œ

œ œ œmor row shall

˙ œ

œ œ œbe my

˙ œ

œ œ œdan cing

œ œ œ

˙ œday: I

˙ œ

œ œ œwould my

˙ œ

- - -

&

&

#

#

œ œ œtrue love

˙ œ

œ œ œdid so

œ œ œ

˙ œ œchance to

˙ œ

˙ œsee the

˙ œ

˙ œle gend

œ œ œ

-

&

&

#

#

œ œ œof my

˙ œ

˙ œplay, to

˙ œ

˙ œcall my

œ œ œ

œ œ œ

true love

˙ œ

œ œ œto my

œ œ œ œ

˙ œdance. Sing

˙ œ

&

&

#

#

˙ œ œO my

œ œ œ

.˙

love,

œ œ œ

œ œ œO my

œ œ œ

˙ œlove, my

˙ œ

˙ œlove, my

˙ œ

&

&

#

#

.˙love.

œ œ œ

˙ œThis

˙ œ

˙ œhave I

˙ œ

œ œ œ

done for

œ œ œ

œ œ œmy true

˙ œ

˙love.

˙

My Dancing Day Traditional


&

&

#

#

44

44

œ œ œ œ

˙ ˙

œ œ œ,œ

œ ˙

,

œ œ

œ œ œ œ

œ œ œ œ

˙ ˙,

˙ ˙,œ œ œ œ

˙ ˙

œ œ œ,œ

œ ˙,

œ

&

&

#

#

œ œ œ œ œ œ

œ ˙ œ

˙ ˙

˙ ˙

œ œ œ œ œ œ

˙ ˙

œ œ œ œ,œ

˙ ˙,

œ œ œ œ

œ ˙ œ

&

&

#

#

˙ ˙,

˙ ˙,

œ œ œ œ œ œ

˙ ˙

œ œ œ œ,œ

˙ ˙,

œ œ œ œ

œ ˙ œ

˙ ˙

˙ ˙

&

&

#

#

44

44

..

..

..

..

œ œ œ œ œ œ œ

œ ˙ œ

œ œ œ œ,

œ œ œ œ

,

œ œ œ œ œ œ œ

œ ˙ œ

œ œ ˙

œ œ ˙

&

&

#

#

œ œ œ œ œ œ

œ ˙ œ œ

œ œ ˙,

œ œ ˙,

œ œ œ œ œ œ

œ ˙ œ œ

œ œ ˙

œ œ œ œ

Branle de cheveux Thoinot Arbeauarr. Penny Gardner


Fine

Fast and light

DC al Fine

J'ai du bon tabac Anonymousarr. Penny Gardner

DC al Fine

Fine

Form: A, A, B, A

Fingering Chartsfor use with

The Nine-Note Recorder Method

© Penny Gardner, 2012

Reproducing and projectionrights are granted to schoolsthat have purchased aclassroom set of this recordermethod book.

B

A

G

&# w

&#w

&#w

Fingering Chart for B, A, and G

B

A

G

E

D

F(sharp)

&#w

&#w

&#w

Fingering Chart: E, D, and F#

E

D

F#

C

high D

Date post:	16-Jul-2016
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