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 recorderno
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
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 gentlylike 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 Bnot 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 teachers 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
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.)
LISTEN when teacher or student speaks.

ACCEPT and encourage others.
STOP when you see the signal.
TRY, try again.
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 coyotes 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 dont get mixed up.
LESSON 2
OBJECTIVES:
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 lets sing: Its Raining,
stomping on the words you see on the board. Heres 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 (dont bite the recorder). Close lips lightly around the mouthpiece.
How to play: Start each note by saying the sound d or du. Blow gentlylike 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.
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 its in the song, Its 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 Its Raining. Stomp or clap when you say a
word that is in the list. Follow the suggested procedure to teach Its 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.
5. Prepare to play the recorder with fingers in place for the first note. Count to lead in.
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.]
LESSON 3
OBJECTIVES:
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)
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.
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.

5. Prepare to play the recorder with fingers in place for the first note. The teacher
should count to lead them in.
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.
is the first note of the melody? What is the fingering for that note? Fingers should be
ready before teacher starts the count.
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.)
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 wont 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.)
10
LESSON 4
OBJECTIVES:
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)
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? Whats 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.
The Quick Nine-Note Recorder Method, Part 4: New RhythmEighth Notes
We will walk and sing; each step we take is a quarter note. Heres 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.
11
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.
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.
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, well 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.
Heres a riddle about our next lesson. (Dont 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.)
12
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.
LESSON 5
OBJECTIVES:
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. Thats
the answer to the riddle, F sharp! When you see an F in this book, it will be an F#.
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.
13
Work in pairs: One partner places recorder on chin. The other partner gently holds the
players 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.
4. Repeat the song, switching roles. [If duet, continue to steps 5 and 6.]
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.)
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. Lets 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 well learn a new rhythm. Good progress!
14
LESSON 6
OBJECTIVES:
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)
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.
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.
4. Repeat the song, switching roles. [If duet, continue to steps 5 and 6.]
INQUIRY:
When a note is dotted, it is half again as long as that notes 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?
Theres math in music. Do this algebra: 1 + a = 2 a = ?
15
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, well 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
concertperhaps a holiday concert before Christmas break.
16
LESSON 7
OBJECTIVES:
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)
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.
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.
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.
17
LESSON 8
OBJECTIVES:
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)
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.
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 teachers
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.
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!
18
LESSON 9
OBJECTIVES:
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:
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. Lets 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.
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 teachers 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.
19
LESSON 10
OBJECTIVES:
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
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 Birds
Carol; Up on the House-Top.
Play holiday songs (list on board) from The Quick Nine-Note Recorder Method to warmup. Today we will play more holiday songs and prepare for our Christmas concert.
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 810 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.
20
LESSON 11
OBJECTIVES:
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.
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 well 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.
21
LESSON 12
OBJECTIVES:
Prepare holiday songs to play in the concert
Dress rehearsal for the concert
MATERIALS NEEDED:
Nine-Note Recorder Method
Copies of songs from Appendix
Program for concert
PREP: Teacher prepares a final draft of the program for the concert.
Play the selected ensemble pieces to warm-up.
Today we will take a few minutes to work on the small group pieces. Then well 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 runthrough, everyone stands and bows.
DISCUSSION:
How can we improve our performance?
DRESS REHEARSAL:
Run through the program againtwice, if time allows.
CLOSURE: Go over info and expectations for performance. Break a leg!
22
Rubric for Playing Recorder

SKILL
Posture &
breath
support
Name _______________________ Date ____________
Mastery
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.
Automatically picks up
Hand &
recorder with LH on top. Both
finger
hands are always on the
positions
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.
Plays the correct notes and
Melody &
rhythms nearly all the time.
rhythm
Even, steady tempo
throughout piece. Song is
recognizable.
Sight reading Able to play an unfamiliar
piece that correlates to
progress through Nine-Note
Recorder Method with 2 or
fewer mistakes.
Musicianship Matches pitch with partner;
Performance
uses du to attack each note;

uses diddles to play musically;
phrases music by breathing at
logical places; naturally
accents strong beats.
Body language shows selfconfidence 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.
Learning
Needs to improve
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.
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.
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.
Able to play an unfamiliar
piece that correlates to
progress through Nine-Note
Recorder Method but has
several mistakes or inaccurate
rhythms.
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 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.
Has to think about fingering.

Many mistakes and pauses
with both rhythm and note
playing making the melody
unrecognizable.
Not able to play an unfamiliar
piece on own or attempts to
play it but melody is
unrecognizable.
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.
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.
Permission to reproduce for educational purposes.
Cowboy Jack
# 3
& 4
He was just a
# 3
& 4

&
&
#
#
learned
to
love
# 2
& 4
Jol - ly
lone - ly
cow - boy
maid - en
&
&
&
&
#
#
#
#
sin - gle
soul
Now you dear old
Nich - o - las,
What I'm going to
man,
old Saint
Jolly Old Saint Nicholas
# 2
& 4
Traditional
arr. Penny Gardner
,
,
brave and
true;
With
eyes
Whis - per what you'll
Appendix, page 1
of
way!
Christ - mas Eve
to
me;
,
,
blue.
Don't you
tell
com - ing
soon;
is
Tell me
He
Traditional
arr. Penny Gardner
bring
heav - en's
say.
Lean your ear this
heart so
With a
if
you
,
,
can.
Nine-Note Recorder Method Lesson Plans
Cowboy Jack
# 3
& 4
He was just a
# 3
& 4

&
&
#
#
learned
to
love
# 2
& 4
Jol - ly
lone - ly
cow - boy
maid - en
&
&
&
&
#
#
#
#
sin - gle
soul
Now you dear old
Nich - o - las,
What I'm going to
man,
old Saint
Jolly Old Saint Nicholas
# 2
& 4
Traditional
arr. Penny Gardner
,
,
brave and
true;
With
eyes
Whis - per what you'll
Appendix, page 1
of
way!
Christ - mas Eve
to
me;
,
,
blue.
Don't you
tell
com - ing
soon;
is
Tell me
He
Traditional
arr. Penny Gardner
bring
heav - en's
say.
Lean your ear this
heart so
With a
if
you
,
,
can.
Whence, O Shepherd Maiden
# 2
& 4
# 2
& 4
&
&
#
#
Whence, O
way,
What
big
boy!
you?
I come from the
..
seen with - in my
day.
Traditional
arr. Penny Gardner
eat - ing
sat
in
cor - ner
pulled out
plum, And
What
big
boy!
Appendix, page 2
man - ger,
strang - er
# 6
j
& 8
Lit - tle Jack Hor - ner
# 6
j
j
& 8

#
j
&
put
in
his thumb and
#
& j
#
& .
&
Noth - ing ev - er
Little Jack Horner
whence come
walk - ing on my
shepherd maid-en,
..
French-Canadian carol
arr. Penny Gardner
. j
Christ - mas
pie.
said what
big
boy
He
. j
.
am
I.
j .

What
big
boy
am
I!
j .
O nuit brillante
# 6
& 8 .
Slowly
nuit
bri -
# 6
& 8 .
&
&
&
&
&
&
&
&
te
j
.
Nuit
#
#
j .
J
#
#
#
#
#
te
Fait
le
jour
dans
sur
Lui!
nuit
bri
Ta
lu - miere
cla
lan
te
j
j
.
J
toi
les!
les!
Nuit
de
vi - ve
le
jour
dans
mon
les!
Vient
nous
cet - te
splen - deur.
j j

Appendix, page 3
toi
Fait
e - cla -
te
voi
j
.
Dieu sous d'hum - bles
lu - miere
j
.

coeur.
tan
Ta
j
J
J
Un
nuit.
splen - deur.
j
j
. .
j
j
j
.
vi - ve
.
J
mon
j j

res - plen - dis - sez
de
j j

tan
lan
Ancient carol
coeur.
*
# 4
& 4
The Little Bells of Westminster
The
lit -
tle
bells
of
West - min - ster
go
Traditional
ding,
dong,
ding,
dong,
dong.
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?
Tallis Canon
# 4
*
& 4
Thomas Tallis, 16th century
#

&

Once I Loved a Maiden Fair
&
&
#
#
# .
& .
# .
& .
from Playford's Dancing Master

arr. Penny Gardner
..
..

Appendix A, page 4
..
..
The Water Is Wide
# 4 Smoothly
& 4
# 4
& 4 . j
.
#

& .
The
&
&
&
#
#
#
wa
have
some
ter
lit - tle
wide,
wings to
is
&
3
&4
,O
fly.
get
o'er

,
.

go
and
o'er
Come With Me, My Giselle
3
&4

,And nei - ther
can - not
, To car - ry

boat
Anonymous
arr. Penny Gardner
my
true
love
get
me
..
..
and
I.
Adam de la Halle, 13th century

arr. Penny Gardner
..
Fine
..
.
DC al Fine
&
Appendix A, page 5
Winter Has Passed
# 4
& 4
# 4
& 4
&
&
#
#
Traditional, German
# 4
& 4
Good
&
&
&
&
#
#
#
Bright - ly
the
snow
lay
King
When
Wen - ces
las
round
looked down
a
On
bout,
deep
that
night,
though
man
came
in
sight,
crisp
of
and
the
gath - 'ring
frost
fu
phen,
ven.
was
win - ter
Appendix, page 6
Ste
moon
poor
feast
cru
the
the
and
shone
When
English carol
..
D.C. al Fine
Good King Wenceslas
# 4
& 4
Fine
..
..
..
el,
el.
Calon Lan
# 3
& 4
Do not
give
me gold - en
Jew - els
glit -
ter
# 3
& 4
&
&
#
#
.
want
heart that's
pure
and
per - fect
&
&
&
#
#
#
if
full
heart
of
j
.

is
for
mon - ey,
mo - ment, then
al - ways
j
.

the
lost
in
hon - est
heart,
with
warm
e -
sing - ing
pur - er
than
the
light.
all
the
day
Appendix A, page 7
lil - y's
white.
j

and
all
But
the
,
,
shines. Shin - ing
that
.
J
For
night.
ter - nal
good - ness,
heart
j
.
hap - py,
mines,
end - less
heart
shines
stones from dia - mond
are
or
. j
# .

&
J
heart
. j
Traditional, Wales
arr. Penny Gardner
the
Shin - ing
..
night.
..
Ring Out the Bells
# 3
& 4
# 3 .
& 4
Ring
out
the
# 3
& 4 .
bells,
oh,
let
them
.
ring,
This
&
&
#
#
night
&
&
when
#
&
#
will
t'ward
.
men!
.
.
chil - dren
Peace

Peace
on
the
j
.
sing.
on
the
earth
Appendix, page 8
good
good
earth
the
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.
#
&
is
W. A. Mozart
will
t'ward
.
men!
.
.
My Dancing Day
# 3
& 4
To - mor - row shall
# 3
& 4
&
&
&
&
&
&
&
&
#
#
#
#
#
#
#
#

true
love
my
dan
so
chance to
my
play,
to
call
my
love
my
This
have
Appendix, page 9
would
my
see
the
le
to
gend
my
dance. Sing
love,
my
love,
my
done
true
love.
my
love,
day:
of
cing
did

be
Traditional
for
my
true
love.
Branle de cheveux
,
#Fast4and light
& 4
# 4
& 4
&
&
&
&
#
#
#
#
,
,
J'ai du bon tabac
Fine
Thoinot Arbeau
arr. Penny Gardner
DC al Fine
Anonymous
arr. Penny Gardner
# 4
& 4
..
# 4
& 4
#

&
&
Form: A, A, B, A
Fine
..

DC al Fine
Appendix, page 10
Fingering Charts
for use with
The Nine-Note Recorder Method
Penny Gardner, 2012

Reproducing and projection
rights are granted to schools
that have purchased a
classroom set of this recorder
method book.
Fingering Chart for B, A, and G
w
&
& w
& w
(sharp)
Fingering Chart: E, D, and F#
F#
& w
& w
& w
high

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Quick 9N Lesson Plans

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Lesson Plans

The Quick Nine-Note

12 lesson plans, a rubric, & extra duets

Copyright 2012 Penny Gardner

Copyright 2012 Penny Gardner

CLASSROOM MANAGEMENT TIPS:

LISTEN when teacher or student speaks.

Establish routines and procedures for recorder class.

Copyright 2012 Penny Gardner

Copyright 2012 Penny Gardner

INDEPENDENT PRACTICE and PERFORMANCE: Allow students to play together in pairs or

Copyright 2012 Penny Gardner

Copyright 2012 Penny Gardner

SUGGESTED TEACHING PROCEDURE:

Copyright 2012 Penny Gardner

Copyright 2012 Penny Gardner

Copyright 2012 Penny Gardner

Copyright 2012 Penny Gardner

Copyright 2012 Penny Gardner

Copyright 2012 Penny Gardner

Copyright 2012 Penny Gardner

Copyright 2012 Penny Gardner

Copyright 2012 Penny Gardner

Copyright 2012 Penny Gardner

Copyright 2012 Penny Gardner

Rubric for Playing Recorder

Name _______________________ Date ____________

Sits up straight or stands tall

Musicianship Matches pitch with partner;

uses du to attack each note;

Copyright 2012 Penny Gardner

Sometimes slumps. Shoulders

Mostly slumps. Poor breath

Sometimes holds the recorder

Mostly uses incorrect hand

May play correct notes but

Has to think about fingering.

Permission to reproduce for educational purposes.

Now you dear old

What I'm going to

Copyright 2013 Penny Gardner

Jolly Old Saint Nicholas

Whis - per what you'll

Christ - mas Eve

Lean your ear this

Nine-Note Recorder Method Lesson Plans

Now you dear old

What I'm going to

Copyright 2013 Penny Gardner

Jolly Old Saint Nicholas

Whis - per what you'll

Christ - mas Eve

Lean your ear this

Nine-Note Recorder Method Lesson Plans

Whence, O Shepherd Maiden

Copyright 2013 Penny Gardner

I come from the

Little Jack Horner

shep- herd maid-en,

Name ___________ Date