Elemental Recorder Playing

Elemental Recorder Playing
with instructions for ensemble playing and improvisation

***

Gunild Keetman
and Minna Ronnefeld
translated and adapted by Mary Shamrock

***

Foreword

Contents: Student's Book

Contents: Teacher's Book

Contents: Student's Workbook

List of Songs

About the Authors

Foreword to the Teacher's Book

This book is based on the fundamental principles of Orff-Schulwerk. The book can be used as a foundation text in an elementary music program that includes use of the recorder. It can also be employed in teaching situations that concentrate primarily upon recorder but in which ensemble playing, improvisation and singing also play an essential role. The book can also serve exclusively as a recorder primer for beginners, either in individual or group teaching.

The possibilities presented here for pedagogical application are the outgrowth of many years of work; they have been tested extensively with children. The material is organized according to a continuum in ear-training development. The teacher is free to use the book as a central point around which to organize music instruction but at the same time to draw from other musical ideas and other sources of material. The teacher is encouraged to supplement with a variety of musical styles, even though they may be too complex for the students' reading level. The material presented here for reading is intended as an entry to the wider realm of music, not as an end in itself.

What is the purpose of this book?

This book applies the principles of Orff-Schulwerk to beginning recorder teaching with children. The essential features include:

The right of the child to have individual sensory-motor experiences and to make his or her own discoveries from musical materials.
Group instruction as the basis for group musical activity.
A balance between productive, reproductive, and receptive activity in the learning process.
The joining of four means of expression: movement, speech, singing, and playing instruments.
The acquisition of content, concepts, and symbols, as much through emotional sensitivity as through intellectual recognition.
Musical totality within the smallest forms.

Given the multi-faceted intentions of this book, it is essential that from the first lesson emphasis be given to experience - based, lively group activity, awakening all intuitive and cognitive powers of the child. The child's desire for doing things him/herself and the joy in making music together should always take precedence over needlessly high demands for perfection.

For whom is this book intended?

The content of the Student's Book is considered the basis for organizing individual as well as class or group instruction. Pedagogical goals should be adjusted to suit each situation.

The Student's Book is intended for children between six and nine years of age. Class instruction should begin in second grade at the earliest. The format and material of the book are equally applicable when beginning with older children, though some song texts will not be age-appropriate.

How does a teacher implement this book?

In order to become familiar with the pedagogical purposes of this book, the teacher should study the complete sequence carefully before beginning even the first lesson. Many items are included primarily as ideas for designing lessons with much variety; each teacher may decide for him/herself which details of the suggested possibilities to omit. The essential features that must be planned for and included are the following:

rhythmic training,
tone quality,
speech and singing,
ear training,
ensemble playing,
improvisation.

Recorder fingering technique begins here with the pitches c" and a'. The authors have found through long experience that this approach establishes a sound basis from which to expand the range and technical ability .

For teachers not well acquainted with the use of the Orff instrumentarium, a second recorder voice has been added for some of the songs.

The practical application of the musical material can indeed be carried out aurally, but the possibilities of transmitting music visually should also be given attention (see Section VIII).

The individual units of the book should not be viewed as completed after first using the material with the class. Many ideas and suggestions appear at the beginning in the smallest forms, in limited range, and with the simplest material; these same ideas, according to the wishes and abilities of the children, should be taken up later with variation and expansion.

Gunild Keetman, Minna Ronnefeld

Contents of Student's Book

Abbreviations and explanation of symbols

1

1 Materials for study and practice: Technique exercises, echo exercises, dialogue exercises, songs with sections to complete, pieces for playing, improvisation exercises, canons, duets, rondos, texts to use for making rhythms and melodies

1) so, mi (a', c")

2-5

2) la (d")

6-9

3) re (g')

10-13

4) do'

14-17

5) (e')

18-21

6) (d')

22-25

7) do, fa (b')

26-29

8)

30-33

9)

34-37

10) ti (c')

38-41

11) (f')

42-45

12)

46-49

II Checklists:

1- Contents of Student Workbook

50

2- Progressive introduction of notes

51

3- Progressive introduction of note functions

52

4- Materials for movement

53

Fingering chart for soprano (descant) recorder

54

Alphabetic list of songs

55

Alphabetical List of Songs

Äne Däne Diadee
At the Outdoor Market

Au Clair de la Lune

Bought Me a Cat

Can You Find Me?

Les Clochettes

Cock-a-doodle-doo

Counting "Out"

Dance Piece

Day Is Done

Ding Dong Doodle

Donkey, Donkey

East, West

Engine Engine, Number Nine

En Ten Tina

First White as Snow

A Flock of White Sheep
Get on Board
Girls and Boys

Good Luck, Bad Luck

Groundhog

Hey Bogie Man

La Huerfanita
(Little Orphan Girl)

In May

Juan Pirulero

Kella Buk

Li'l Liza Jane

Little Sally Walker

Lucy Locket

Mother's Advice

Name Calls

Night Skies

Oats, Peas, Beans
One, Two, Tie My Shoe
Pizza Pepperoni

Riddle Song

Sailor, Sailor

Scarborough Fair

Spinning Song

Star Light, Star Bright

Takenoko Ippon

Three Blind Mice

Tinga Layo

Tinker, Tailor

Twine a Wreath

Wait! I'll Go Along with You

Warning

What Has Six Legs?

Zero, One, Two

About the Authors
Gunild Keetman and Minna Ronnefeld were instrumental figures in the development of the Orff-Schulwerk pedagogy, both concept and application. This set of materials is firmly grounded in schulwerk principles; development of recorder skills is integrated with movement, singing, improvisation, use of accompaniments, and ear-training skills, with abundant musical examples provided at every step. In addition, it provides thorough and supportive guidance for the teacher in how to utilize the materials for optimum results. The development of musical creativity is central to the concept. These materials can serve as a recorder method for beginners in either individual or group teaching, and as a valuable supplement for an elementary music program that incorporates recorder into a larger perspective of schulwerk music making. All musical examples were composed and/or arranged by Keetman and Ronnefeld. Some song examples in the German edition have been replaced with English and American material; texts have been translated, adapted, substituted, and occasionally created, by Shamrock.

Mary Shamrock is Professor of Music and Assistant Music Department Chair at California State University, Northridge, teaching in the areas of Music Education and World Music. She holds a Ph.D. in Music Education/Ethnomusicology from UCLA. She has broad experience as instructor of schulwerk training courses and workshops. She has served the American Orff-Schulwerk Association in many capacities, including national president and journal editor.

Gunild Keetman, together with Carl Orff, created the original German edition of Orff-Schulwerk in the 1930s. The final version, 'Music for Children', was published between 1950 and 1954 in five volumes.

Minna Ronnefeld graduated as a pianist in Copenhagen, taught at the 'Mozarteum' in Salzburg and has been Professor in Music Education at 'The Royal Danish School of Educational Studies' since 1970.

Contents of Teacher's Book

Foreword

5

I Guidelines for the teacher

6

II Lesson materials and procedures

11

III Concerning the student workbook

13

IV Rhythmic training:

The foundation

Developing sensitivity to tempo and dynamics through exercises in place and spatial movement

Exercises for developing rhythmic and metric sensitivity

Exercises for developing sensitivity to phrase length

13

V Blowing and fingering:

Preparatory exercises

The "silent recorder" on the chin

Tonguing exercises with use of the voice

Fingering exercises with the recorder on the chin

The sounding recorder

18

VI The recorder in movement

24

VII Suggested teaching aids for conscious ear training:

Tonic Sol-fa, solmisation, hand signs

Rhythmic speech

26

VIII Note reading and writing, sight singing and playing, transposition

29

Contents of Student's Workbook

I Guideline for the students - teachers - parents

1

II Assignments and exercises

11

III Blank pages for musical compositions, poems, drawings, etc.

13

Student's Workbook
The Workbook contains exercises and games for doing at home and in the music lesson. It is directly integrated with the work in the Elemental Recorder Playing Student's Book; the intent is that the two books be used together .

The purposes of these lessons, based on sound music education practices, are

1) to develop a basis of readiness and experience of many types, and

2) to stimulate musical and creative behavior.

Most of the lessons can be approached as homework, even those which according to the accompanying text are seen as intended for the class itself. The teacher needs only to adjust the lessons to the needs of the particular situation.

The lessons having an asterisk at the beginning should be approached only with the help of the teacher, so that the material is experienced in the context of live encounter, and so that the children can be habituated to purposeful work habits.

Completion of all lesson tasks should grow from practical encounter with the material.

The empty pages in the back of the book as well as the space between the lessons is to be used in whatever way needed - for drawings, for supplemental lessons, for writing original texts, etc.

Always write with pencil!

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Contents of Student's Book
Abbreviations and explanation of symbols	1
1 Materials for study and practice: Technique exercises, echo exercises, dialogue exercises, songs with sections to complete, pieces for playing, improvisation exercises, canons, duets, rondos, texts to use for making rhythms and melodies
1) so, mi (a', c")	2-5
2) la (d")	6-9
3) re (g')	10-13
4) do'	14-17
5) (e')	18-21
6) (d')	22-25
7) do, fa (b')	26-29
8)	30-33
9)	34-37
10) ti (c')	38-41
11) (f')	42-45
12)	46-49
II Checklists:
1- Contents of Student Workbook	50
2- Progressive introduction of notes	51
3- Progressive introduction of note functions	52
4- Materials for movement	53
Fingering chart for soprano (descant) recorder	54
Alphabetic list of songs	55

Alphabetical List of Songs
Äne Däne Diadee At the Outdoor Market Au Clair de la Lune Bought Me a Cat Can You Find Me? Les Clochettes Cock-a-doodle-doo Counting "Out" Dance Piece Day Is Done Ding Dong Doodle Donkey, Donkey East, West Engine Engine, Number Nine En Ten Tina First White as Snow A Flock of White Sheep	Get on Board Girls and Boys Good Luck, Bad Luck Groundhog Hey Bogie Man La Huerfanita (Little Orphan Girl) In May Juan Pirulero Kella Buk Li'l Liza Jane Little Sally Walker Lucy Locket Mother's Advice Name Calls Night Skies Oats, Peas, Beans	One, Two, Tie My Shoe Pizza Pepperoni Riddle Song Sailor, Sailor Scarborough Fair Spinning Song Star Light, Star Bright Takenoko Ippon Three Blind Mice Tinga Layo Tinker, Tailor Twine a Wreath Wait! I'll Go Along with You Warning What Has Six Legs? Zero, One, Two

Contents of Teacher's Book
Foreword	5
I Guidelines for the teacher	6
II Lesson materials and procedures	11
III Concerning the student workbook	13
IV Rhythmic training: The foundation Developing sensitivity to tempo and dynamics through exercises in place and spatial movement Exercises for developing rhythmic and metric sensitivity Exercises for developing sensitivity to phrase length	13
V Blowing and fingering: Preparatory exercises The "silent recorder" on the chin Tonguing exercises with use of the voice Fingering exercises with the recorder on the chin The sounding recorder	18
VI The recorder in movement	24
VII Suggested teaching aids for conscious ear training: Tonic Sol-fa, solmisation, hand signs Rhythmic speech	26
VIII Note reading and writing, sight singing and playing, transposition	29

Contents of Student's Workbook
I Guideline for the students - teachers - parents	1
II Assignments and exercises	11
III Blank pages for musical compositions, poems, drawings, etc.	13
Student's Workbook The Workbook contains exercises and games for doing at home and in the music lesson. It is directly integrated with the work in the Elemental Recorder Playing Student's Book; the intent is that the two books be used together . The purposes of these lessons, based on sound music education practices, are 1) to develop a basis of readiness and experience of many types, and 2) to stimulate musical and creative behavior. Most of the lessons can be approached as homework, even those which according to the accompanying text are seen as intended for the class itself. The teacher needs only to adjust the lessons to the needs of the particular situation. The lessons having an asterisk at the beginning should be approached only with the help of the teacher, so that the material is experienced in the context of live encounter, and so that the children can be habituated to purposeful work habits. Completion of all lesson tasks should grow from practical encounter with the material. The empty pages in the back of the book as well as the space between the lessons is to be used in whatever way needed - for drawings, for supplemental lessons, for writing original texts, etc. Always write with pencil!

Elemental Recorder Playing with instructions for ensemble playing and improvisation

Contents: Student's Workbook

Elemental Recorder Playing
with instructions for ensemble playing and improvisation