9N Lesson Plans

Lesson Plans
for
The Nine-Note
Recorder Method

22 lesson plans, a rubric, & extra duets
Developed by Penny Gardner
Author of the Nine‐Note Recorder Series
PREFACE: USING the NINE-NOTE RECORDER METHOD and LESSON PLANS
The Nine-Note Recorder Method is a comprehensive introduction to recorder. The
lesson plans will help you work through the book with your students. Lessons may be
adapted, spending more time as needed for mastery. Lessons often follow this pattern:
REVIEW: Review a concept, often a new fingering or rhythm, from the previous lesson.
WARM-UP: Play a song from the previous lesson to put the review into practice.
INTRODUCTION: Objectives for the lesson or a statement about what will be learned.
INQUIRY: A question(s) is asked. Students discuss with a partner. This may involve some
experimentation and requires students to form a hypothesis or conclusion.
INSTRUCTION AND GUIDED PRACTICE: Teacher presents a new skill and the practice needed to
master that skill. The class may be divided into two groups with one group actually
playing with the teacher and the other group “chin-playing” and saying note names
aloud along with the playing group. Then groups switch roles. (See Suggested Teaching
Procedure in each lesson.)
INDEPENDENT PRACTICE: Students work individually, in pairs, or in small groups to focus on
one or two favorite songs from the Guided Practice session.
PERFORMANCE: Students are invited to perform or share what they worked on during
Independent Practice. This accustoms students to play in front of a group and lessens
performance anxiety.
ASSESSMENT: Students are often asked to assess their own performance and to share two
things that went well and one thing they need to work on to improve. At several points,
the teacher will use the rubric in this book to more formally assess students.
CLOSURE: Teacher or a selected student will briefly go over the skill learned in the lesson.
Class may perform a song from the lesson as a wrap-up. Teacher may give tell or give a
hint about the next lesson.
NATIONAL MUSIC STANDARDS

1. Singing, alone and with others, a varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire of music.
3. Improvising melodies, variations, and accompaniments.
4. Composing and arranging music within specified guidelines.
5. Reading and notating music.
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
8. Understanding relationships between music, the other arts, and disciplines outside
the arts.
9. Understanding music in relation to history and culture.
LESSON 1
OBJECTIVES:
 Students will (SW) get acquainted with the recorder
 SW hold the recorder correctly
 SWL (students will learn) correct positioning of hands and fingers
 SW explore playing the recorder (blowing, attacking notes)
 SW become aware of matching pitch
 SWL three notes (B, A, G) and songs in Part 1 of Nine-Note Recorder Method
MATERIALS NEEDED:
 Soprano recorder for each student (prefer Peripole Angel, Baroque fingering)
 Nine-Note Recorder Method, Part 1
 Display class fingering charts for B, A, and G (1-3)
PREP:
Display the required fingering charts.
Prepared to go over your expectations and routines for the class.
(See Classroom Management Tips at the end of this lesson. Adapt as desired.)
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 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. With
only nine notes, you will be able to play the songs, duets, and rounds in the music book.
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:

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 1 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 1 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 3 and 4 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 LISTEN when teacher or student speaks.
are first to perform during the next class. ACCEPT and encourage others.
STOP when you see the signal.
TRY, try again.
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.

LESSON 2
OBJECTIVES:
 Review Lesson 1
 Students will learn (SWL) a new note, E
 SW play songs in Part 2 of Nine-Note Recorder Method
MATERIALS NEEDED:
 Soprano recorder (with Baroque fingering) 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.

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 for each song:

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:
 SW review concepts and songs from Lesson 2
 SWL a new note: “D”
 SWL about accents and how observing natural accents, phrasing (breathing in
logical places), and tonguing will lead to playing musically
 SW develop ensemble playing skills while playing duets
MATERIALS NEEDED:
 Soprano recorder for each student
 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.

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 for “Old Ship Zion.” Notice the 2-beat pick-up. To lead
class 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 on page 8? What is the D word? Pair share.
…Give the signal to come together. Call on students to share what they discovered.
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 melody of “The Gospel Train” following the teaching procedure and observing
the accents on beats 1 and 3. On step 6, the teacher and one or two students may play
the harmony while the rest of the class repeats the melody. Have all students to play
the harmony through once. Divide the class into 2 groups to play the duet. Take turns
with playing the melody or the harmony.

Follow this general procedure with the two duets on page 9. In addition, have students
sing the “Diddles” while you play the melody. This may replace or follow step 4.
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 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.)

LESSON 4
OBJECTIVES:
 SW review concepts and songs from Part 3
 SWL a new rhythm and a new meter
 SW be assessed using rubric to determine if class is ready to move on to Part 5
MATERIALS NEEDED:
 Recorder for each student
 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? What’s the difference between the version
on page 10 and the one on page 3? Pair share.
…Give the signal to come together. Call on students to share what they discovered.

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 10 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.

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, 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 six or seven more weeks to
do the next five 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 (or the end of the year if you are lucky) 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:
 SW review concepts and songs from Lesson 4
 SWL a new note: F# (F sharp)
 SW develop coordination to switch between F# and E
 SW become aware of the form of songs
 SW be able to identify if a song is major or minor
MATERIALS NEEDED:
 Nine-Note Recorder Method, Part 5—pages 14-17
 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#.

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.

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. 14) 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.)
Note: This is a long section of the book so it is divided into 3 lessons. This will allow time for all
the components of the lesson and will lead to mastery.
Play the songs, pages 14-17, in Part 5. At page 16, 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.]

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 more songs with F sharp. Good progress! (Or other
sincere, positive observation.)

LESSON 6
OBJECTIVES:
 SW review F# and work on precision and speed between F# and E
MATERIALS NEEDED:
 Nine-Note Recorder Method, Part 5—pages 14-21

Play the Switching exercise, matching pitch. Ask for two or three favorite songs from
pages 14-17. Play “Song in E Minor,” if not chosen, to review form and major/minor.
Chants: “Every Good Bear Dances.” “The spaces spell the word ‘face.’ F-A-C-E.”

Work through pages 18-21 in Part 5 following the suggested teaching procedure on
previous page.
INQUIRY: After playing the songs on page 20: Which song sounds very different from the
other 3 songs? Why? (At end of lesson, ask which duet sounded different and why.)

on one piece of their choice from Part 5. 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. Some possibilities are: a percussion intro; a verse that includes singing as well as
playing.) Circulate to offer help and encouragement. Give the attention signal.
Invite students to perform for the class in pairs or small groups. Practice procedures of
performing and being the audience. Ask performers to self-evaluate: What is one thing
you are pleased with? What is one thing you want to improve? Teacher makes a specific
observation and thanks the performers.
CLOSURE: Continue doing your wrist homework. Next time, we will learn the remaining
songs in Part 5. Good progress! (Or other comment.)

LESSON 7
OBJECTIVES:
 SW review F# and work on precision and speed between F# and E
MATERIALS NEEDED:

Play the Switching exercise, matching pitch.
Ask for two or three favorite songs from pages 14-21.

Work through pages 22-24, Part 5, following the teaching procedure on page 14.

on one piece of their choice from Part 5. 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. Some possibilities are: a percussion intro; a verse that includes singing as well as
playing.) Circulate to offer help and encouragement. Give the attention signal.
performing and being the audience. Ask performers to self-evaluate: What is one thing
you are pleased with? What is one thing you want to improve? Teacher makes a specific
observation and thanks the performers.
CLOSURE: Which song from pages 22-24 is minor? Continue doing your wrist homework.
Next time, we will learn a new rhythm and keep improving our ability to play F sharp.

LESSON 8
OBJECTIVES:
 SWL a new rhythm: dotted quarter note
 SW become familiar with endings and be able to track a piece with endings
MATERIALS NEEDED:

Chants (with hand making steps up): “Every Good Bear Dances.”
“The spaces spell the word ‘face.’ F-A-C-E.”
Play the Switching exercise (F#-E), matching pitch. Ask for a favorite song from Part 5 as
a warm-up. Instead of learning a new note, we will learn a new rhythm—the dotted
quarter note with its partner 1/8 note.

Nine-Note Recorder Method, Part 6: New Rhythm—Dotted Quarter Note
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 rest of the songs in Part 6 following the suggested teaching procedure. On the
last song, “Jingle Bells,” teach about endings. 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.”


on one piece of their choice from Part 6. 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. Some possibilities are: a percussion intro; a verse that includes singing as
well as playing.) Circulate to offer help and encouragement. Give the attention signal.
performing and being the audience. Ask performers to self-evaluate: What are two
things you did well? What is one thing you want to work on and improve? Teacher
makes a specific observation and thanks the performers.
CLOSURE: Continue doing your wrist homework. Next time, we will learn a new time
signature meter. Hint: Think about a character who sat on a wall. (Don’t give it away.)

LESSON 9
OBJECTIVES:
 SWL a new meter: 6/8 Time
 SW play songs in Part 7 in Nine-Note Recorder Method
 SW be assessed using rubric to determine if ready to progress
MATERIALS NEEDED:

Play the Switching exercise (F#-E), matching pitch. Ask for a favorite song from Part 5 or
6 as a warm-up. Instead of learning a new note, today we will learn a new meter—6/8
time. This will allow us more time to master that tricky F sharp fingering.
March with long steps around the room while chanting and clapping the rhythm to
“Humpty Dumpty.”
INQUIRY with a partner:

Knowing that the time signature tells us how many beats to a measure and which note
gets the beat, what do you think the time signature of 6 over 8 would mean? What
other nursery rhymes are in this meter? Do you agree that your partner’s suggested
nursery rhyme is in 6/8? …Give attention signal and debrief.

Nine-Note Recorder Method, Part 7: New Meter 6/8 Time
New Meter 6/8 Time: Until now, the time signatures have always had a 4 on the bottom
indicating that the quarter note gets the beat. Here the 8 means that the EIGHTH NOTE
gets the beat. The top number lets you know that there are 6 beats per measure.
Slap a quick, steady beat on your leg while you count to 6. Then recite “Humpty
Dumpty” while you keep the beat going. Notice that your hand slaps twice while you say
“Hump” and once on “ty.” Bolded lyrics in “Humpty Dumpty” illustrate accents.
Slap a quick, steady beat on your leg while you count to 6. Listen to the starting pitch
[play a D] then sing “The Farmer in the Dell.” Give the eighth note the beat. The accent
is on beat 1 and slightly less on 4. Now play “The Farmer in the Dell.”

Now that you have a feeling for 6/8 songs, let’s adjust from having 6 very quick beats
per measure to 2 slower beats per measure. Slap your legs on one and four while
thinking 1, 2, 3; 4, 5, 6. Keep the steady pulse while you recite “Humpty Dumpty”.
Keep the pulse going while you sing “The Farmer in the Dell.”
Once you start thinking of 6/8 songs as having two beats, here is the way to get into 6/8
songs with a pick-up: Count out 1, 2, 3 on the first beat and 4, 5 (or “ready, play”) on the
second beat. Come in on 6. Use this strategy on “The Farmer in the Dell,” “The Eensie-
Weensie Spider,” and other 6/8 songs with an eighth note pick-up.
Play the rest of the songs in Part 7 following the suggested teaching procedure.

INDEPENDENT PRACTICE, PERFORMANCE, and FORMAL ASSESSMENT: Allow students to

play individually or with a partner for 4-6 minutes. Their objective is to work on TWO
pieces of their choice. One song needs to be from Part 6 with the dotted quarter rhythm
(can be the same piece they worked on in the previous lesson) and one from Part 7 in
6/8 time. Be creative in presentation. Circulate to offer scaffolding and encouragement.
Attention signal. It is time for another assessment using the rubric before continuing to
Part 8. Teacher determines if the class is ready to move on or if more practice is needed.
Closure comment will reflect this. “Next week, we’ll play some favorites.”
CLOSURE: [When ready to move forward] Now that you have mastered F sharp and
some new rhythms, you are ready to learn a new note when I SEE you next time.
Note to teacher: This is a good place to stop if time is limited. Spend two or three sessions
preparing for a culminating concert.

LESSON 10
OBJECTIVES:
 SW review concepts and songs from Part 6 and Part 7
 SWL 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, 6, or 7 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.

Nine-Note Recorder Method, Part 8: 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 on pages 31-34 in Part 8 following the suggested teaching procedure.

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. Be creative in presentation. Circulate to
provide scaffolding and encouragement. Give the attention signal.
things you did well? What is one thing you want to work on and improve? Teacher gives
an observation and thanks the performing students.
CLOSURE: Next class, we will learn the rest of the songs with C. I’ll SEE you next week.

LESSON 11
OBJECTIVES:
 SW review concepts and songs from the beginning of Part 8
 SW master the new note introduced during the previous class: C
MATERIALS NEEDED:
 Class fingering charts for B, A, G, E, D, F#, and C (1-7)

Ask for two favorite songs from pages 31-34 as a warm-up.

Nine-Note Recorder Method, Part 8: New Note: C
Play the songs on pages 35-38 in Part 8 following the suggested teaching procedure.


work on one piece of their choice from Part 8. Be creative in presentation. Circulate to
provide scaffolding and encouragement. Give the attention signal.
things you did well? What is one thing you want to work on and improve? Teacher gives
an observation and thanks the performing students.
CLOSURE: Next class, we will learn another new note, high D. Good progress!

LESSON 12
OBJECTIVES:
 SWL a new note: High D
MATERIALS NEEDED:
 Nine-Note Recorder Method, Part 8 and Part 9
 Class fingering charts for B, A, G, E, D, F#, C, and high D (1-8)
You may want to set up a Holiday Concert to take place in about five weeks.

Ask for 2 or 3 favorite songs from Part 8 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.

Nine-Note Recorder Method, Part 9: 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 9 songs (pages 39-43) following the teaching procedure on page 22.

work on one piece of their choice from Part 9. 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 continue learning songs with high D. Good progress!

LESSON 13
OBJECTIVES:
 SW continue developing skills with high D by working through songs in Part 9
MATERIALS NEEDED:

Ask a student to show the fingering for high D. Ask for a favorite song from pages 39-43
for a warm-up. Today we will play more songs with high D.

Play songs in Part 9 on pages 44-48 using the teaching procedure below.

work on one piece of their choice from page 39-48. Circulate to offer help.
Invite students to perform, practicing procedures. Ask performers to self-evaluate: What
are two things you did well? What is one thing you want to work on and improve?
Teacher makes a specific observation and thanks the performers.
CLOSURE: Next class, we will learn the rest of the songs in Part 9 with high D. We will
have an assessment at the end of that class to see if we are ready for another new note.

LESSON 14
OBJECTIVES:
 SW master high D by working through the remaining songs in Part 9
 SW be assessed using rubric (optional)
MATERIALS NEEDED:

Ask for a couple favorite songs from Part 9 (through page 48) for a warm-up.
Today we will play more songs with high D.

Play songs in Part 9, pages 49-52, following the suggested teaching procedure.


pieces of their choice from Part 9. They may be the same piece that they have worked
on before. Be creative in presentation.
It is time for another assessment using the rubric. All students should perform TWO
pieces for this assessment. Students may play a solo and/or a duet with a partner.
Maximum is two students so they can be assessed.
CLOSURE: Whole class performs “Bring a Torch”. This is just one of the holiday songs
that we may perform at our concert. Next week, you will get 6 extra songs.

LESSON 15
OBJECTIVES:
 SWL six holiday songs to play in the concert
 SW choose pieces and start preparing them for the concert
MATERIALS NEEDED:
 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. 23; Jolly Old St. Nicholas, p. 24; We
Wish You a Merry Christmas, p. 38; Bring a Torch, p. 52; draw a line or start a new
column with: Ring Out the Bells; O nuit brillante; Winter Has Passed; Good King
Wenceslas; My Dancing Day; Ding, Dong, Merrily on High; Stars Were Gleaming.
WARM-UP and INTRODUCTION:

Play holiday songs (list on board) from The Nine-Note Recorder Method to warm-up.
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 the previous
page. 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. Pay particular attention
to listening to others and matching pitch. The next lesson will be a dress rehearsal for
our Holiday Concert.

LESSON 16
OBJECTIVES:
 SW practice holiday songs to play in the concert
 SW participate in a dress rehearsal for the concert
MATERIALS NEEDED:
 Nine-Note Recorder Method
 Copies of songs from Appendix
 Program for concert
PREP: Teacher prepares a draft of the program for the concert.
WARM-UP and INTRODUCTION:

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:
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?
DRESS REHEARSAL:
After making modifications, run through the program again—twice, if time allows.
CLOSURE: Go over info and expectations for performance. Break a leg!
Notes: Prepare final draft of concert program and print. There are 6 more lessons to finish this book and
hold another concert. This would be a good place to stop if you have no more time for the recorder unit.

LESSON 17
OBJECTIVES:
 SWL 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 the 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…Attention signal.
Play the “High E Song,” matching pitch. Let’s play the octave skips on page 53 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.

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 10 on pages 53-55.


work on one or two pieces of their choice from Part 10. Circulate to offer support and
encouragement.
Invite students to perform for the class in pairs or small groups. 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 a specific observation and thanks the students.
CLOSURE: Ask for tips on how to successfully play high E and on how to play it in tune
with others. Play high E, one at a time (alternating between a student and the teacher),
matching the teacher’s pitch. When everyone has had a turn to match pitch, play high E.
Hold it for at least 8 counts while listening to others and trying to match their pitch.
When we have matched perfectly, it will sound like one recorder is playing.
Next time, we will play more songs with high E.

Whole class performs the round “Sail Away” on the top of page 54.

LESSON 18
OBJECTIVES:
 SW gain more confidence with playing high E and matching pitch to others
 SW play more songs from Part 10 of Nine-Note Recorder Method
MATERIALS NEEDED:

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.
Ask for 2 favorite songs from the book as a warm-up.

Before playing the duet, “Gathering Peascods” (pronounced pess-cods) on page 56,
model playing a song with more than one repeat with endings by tracking with two
fingers and thinking out loud: “Okay, I’ll play the A section to the double dots in the first
ending. Then I’ll start at the beginning again. But this time, I’ll skip over the 1st ending
and play the 2nd ending. I’ll keep going to play the B section, playing the 1st ending at the
bottom of the page. Then I’ll quickly get my eyes back to the forward repeat, the double
dots at the last measure of the 2nd system. I’ll play the B section again, but this time I’ll
skip the 1st ending at the bottom of the page and play the final note in the 2 nd ending.”
Before playing “Bacco, Bacco, on page 57, ask a volunteer about the new time signature.
Work with a partner to track and verbalize how to follow this song with the repeats and
endings. Give the signal to come back together. Ask a student to think out loud to
demonstrate how to track and play a song with a D.C. al Fine. “I play to the end. Then I
go back to the beginning and stop at the “Fine.” (fee-nay)
Play the songs on pages 56-59 in Part 10, following the suggested teaching procedure
on the next page.


work on one or two pieces of their choice from Part 10. They should try out songs they
may want to perform in the concert. Circulate to offer one-on-one help to individual
students or small groups.
things you did well? What is one thing you want to work on and improve? Teacher
makes a specific observation and thanks the performers.
CLOSURE: Go back to “The British Grenadiers” on page 58. What is the form? How do
we track how to play this song? Use a metronome. Start with a slow tempo. Play the
melody again, increasing the speed each time. When you’ve reached your max, set the
metronome even faster and do your best. Laugh.

LESSON 19
OBJECTIVES:
 SW gain mastery of High E
 SW play remaining songs from Part 10 of Nine-Note Recorder Method
 SW be assessed using rubric
 SW prepare for concert
MATERIALS NEEDED:

Play a favorite duet as a warm-up.

Play songs in Part 10, pages 60-62, following the suggested teaching procedure (p. 31).

pieces of their choice. They may be the same piece that they have worked on before.
These could be the pieces to perform at our concert. Tag pages with sticky note and
paper clip. Give the attention signal to come together.
It is time for another assessment using the rubric. All students should perform TWO
pieces for this assessment. Students may play a solo and/or a duet with a partner.
Maximum is two students so they can be assessed. [Assessment will show if students
are ready to move forward or if they need to review to attain mastery.] Teacher makes a
specific observation and thanks each student.
CLOSURE:
Vote to choose 3 or 4 pieces that the whole ensemble will perform at our concert.
Decide on format (variations in sound) for the selected ensemble duets. Try out ideas
and decide on format for each of these pieces. Run through the music as determined.
[If ready to move on…] Next lesson, we will learn one more note….What? That makes 10
notes! Isn’t this supposed to be a NINE note method? We’ll sort it out next time.
Note: You could stop here and not learn the last note. Prepare for the culminating concert.

LESSON 20
OBJECTIVES:
 SWL alternate fingering for B
 SW play songs from Bonus Section of Nine-Note Recorder Method
 SW prepare for concert
MATERIALS NEEDED:
 Class fingering charts for B, A, G, E, D, F#, C, high D, high E, and alternate B (1-10)
PREP: Write the ensemble duet titles and page numbers on the board.

Play the selected ensemble duets as a warm-up. Focus on playing in tune and musically.

Nine-Note Recorder Method, Bonus Section: Alternate B (called B2)
This is not a new note but another way to play B. This is easier and faster than the
regular B fingering when you have played C or high D and need to go DOWN to B. Play
the exercise with B-2 on page 63.
Play songs in Bonus Section, pages 63-64, following the suggested procedure (p. 25).

individually, with a partner, or in a small group for 10 minutes or more. Their objective is
to work on TWO pieces to perform at the concert (but not any of the ensemble pieces).
They may be a piece that they have worked on before. Each group should write their
song and page number and names on the board so another group will not use it. Nail
down presentation and practice the songs in that way. The rest of the time may be
spent preparing pieces.
Optional, if extra time: Small groups and duos practice concert pieces in front of the
class. Assessment by peers and teacher that offers specific observations and
constructive, but kind, suggestions for the performing group to consider.
CLOSURE:
Rehearse the selected ensemble duets as determined.
Next time, we’ll finish The Nine-Note Method and continue to prepare for our concert.

LESSON 21
OBJECTIVES:
 SW gain mastery of Alternate B (BII)
 SW play remaining songs from Bonus Section of Nine-Note Recorder Method
 SW prepare for concert by mastering the chosen pieces
MATERIALS NEEDED:
 Class fingering charts for B, A, G, E, D, F#, C, high D, high E, and alternate B (1-10)

Play the selected ensemble duets as a warm-up. Focus on playing in tune and musically.

Nine-Note Recorder Method, Bonus Section: Alternate B
Play songs in Bonus Section, pages 65-67, following or modifying the suggested
procedure (p. 31). Try to develop speed with the lively duets on pages 65 and 66.
INDEPENDENT PRACTICE, PERFORMANCE, and ASSESSMENT: Their objective is to work

on their two concert pieces with their partner or small group in preparation for concert.
The rest of the period may be spent preparing pieces. Teacher should conference with
each team to give feedback.
Optional, if extra time: Small groups and duos practice concert pieces in front of the
class. Assessment by peers and teacher that offers specific observations and
constructive, but kind, suggestions for the performing group to consider.
CLOSURE:
If time, figure out program for concert. If there is no time to do this as a whole group,
ask for volunteers who will work as a committee to do this before next class. They
should meet with the teacher for a few minutes before they start and again when they
have the program worked out. Rehearse the selected ensemble duets, if time.

LESSON 22
OBJECTIVES:
 SW gain mastery of concert ensemble pieces
 SW gain mastery of duets and small group pieces
 SW participate in a dress rehearsal to prepare for concert
MATERIALS NEEDED:
 Project the program on the board or have it printed out landscape on several
sheets in a large font size
PREP: Make a tentative program order. This could be done with volunteer students.
Put the ensemble duets at the beginning and at the end of the program, with small
group pieces in between. An ensemble duet could be place in the middle of the lineup.
INTRODUCTION:
We will run through the program once as is. Jot down notes if you want to make a
suggestion later. First, make sure you are sitting by the others in your performing group.
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:
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?
DRESS REHEARSAL:
After making modifications, run through the program again—twice, if time allows.
CLOSURE:
Go over the details of the concert. Break a leg.
Teacher prep for concert: Make a final printed program.
[Note to teacher: There is a supplemental book for learning the rest of the notes. You may
order, Beyond the Nine-Note Recorder Method, by visiting www.ninenote.com]

Rubric for Playing Recorder Name _______________________ Date ____________
SKILL Mastery Learning Needs to improve
Posture & Sits up straight or stands tall
breath with both feet planted. Sometimes slumps. Shoulders Mostly slumps. Poor breath
support Breathes from below ribs. Has may rise, indicating that support, shallow breaths, and
a relaxed and open throat for breath is not supported from inability to play a phrase in
a smooth tone. Head is held the diaphragm. one breath.
high and chin is slightly
dropped. Able to play a
moderately long phrase with
one breath.
Hand & Automatically picks up Mostly uses incorrect hand
finger recorder with LH on top. Both Sometimes holds the recorder positions unless specifically
positions hands are always on the with RH on top instead of left. told to put LH on the top.
recorder with the RH thumb Fingers are not curved. Fingers are not in line with
providing support. Pinkies do Fingers are not close to the the proper holes. Fingers are
not droop. Fingers are curved recorder. Holes are not not held properly curved and
and held just above the holes. always completely covered. close to the recorder. Looks at
Uses fleshy pads near recorder to find the holes.
fingertips to cover holes
completely.
Melody & Plays the correct notes and May play correct notes but Has to think about fingering.
rhythm rhythms nearly all the time. not the correct rhythm, or has Many mistakes and pauses
Even, steady tempo good rhythm reading skills with both rhythm and note
throughout piece. Song is but is unsure of fingerings for playing making the melody
recognizable. notes. Tempo is uneven. unrecognizable.
Sight reading Able to play an unfamiliar Able to play an unfamiliar
piece that correlates to piece that correlates to Not able to play an unfamiliar
progress through Nine-Note progress through Nine-Note piece on own or attempts to
Recorder Method with 2 or Recorder Method but has play it but melody is
fewer mistakes. several mistakes or inaccurate unrecognizable.
rhythms.
Musicianship Matches pitch with partner; Is sometimes in tune with Is mostly not in tune with
uses “du” to attack each note; partner; tonguing is mostly partner (over or under
uses diddles to play musically; used but note attack is not blows); has sloppy attack or
phrases music by breathing at always precise; may have a slurs notes; takes a breath
logical places; naturally choppy sound; phrasing before each note; is unaware
accents strong beats. needs improvement. of phrasing.
Performance Body language shows self- Is nervous but goes through
confidence in ability; poised; with it; may start over or not Refuses to perform solo or as
recovers from mistakes and recover from mistakes; does part of a duet. May agree to
keeps going; makes eye not make eye contact or perform in a group with at
contact, states name and speak loudly enough when least 3 others. Assessment
name of the piece clearly; addressing audience; may has to be done in a private
bows. Respectful when others forget to bow. Is mostly setting.
perform. May coach and respectful when others
encourage peers. perform.
Copyright © 2012 Penny Gardner Permission to reproduce for educational purposes.

Ring Out the Bells
# 3
W. A. Mozart
˙ œ ˙. œ œ œ
& 4 œ œ œ ˙ œ
# 3 .
Ring out the bells, oh, let them ring, This is the
& 4 ˙ ˙ œ ˙. ˙. œ œ œ
# 3
& 4 ˙. ˙. ˙. ˙. œ œ œ
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.
# œ œ j
& œ ˙ œ œ ˙. œ œ œ œ. œ œ
#
night when chil - dren sing. Peace on the earth good
& œ œ œ œ ˙. ˙. ˙ œ
œ ˙ œ
#
& œ œ œ œ ˙. ˙. ˙. ˙.
# ˙ œ œ œ œ
& ˙. œ œ œ ˙ œ ˙.
# œ œ
will t'ward men! Peace on the earth good will t'ward men!
& ˙. ˙. œ œ œ œ œ œ ˙.
œ œ œ
#
& ˙ œ ˙. œ œ œ œ ˙ ˙ œ ˙.
Copyright © 2012 Penny Gardner Appendix, page 1 Nine-Note Recorder Method Lesson Plans
O nuit brillante Ancient carol
# 6 j j j œ œ
œ œ œ ‰ ‰
Slowly
& 8 œ. œ œ œ œ œ œ œ œ œ. œ œ œ œ
O nuit bri - lan - te Nuit de vi - ve splen - deur. Ta lu - miere e - cla -
# 6 œ. œ œ œ. œ ‰ œ œ œ œ œ œ. œ ‰ œ œ œ œ œ
& 8 J J J J J J J J J
# j j j
& œ œ œ ‰ œ œ œ œ œ . œ œ. œ œ œ œ œ ‰
œ œ J J
tan - te Fait le jour dans mon coeur. E - toi - les! E - toi - les!
# œ œ œ œ œ œ œ. œ œ œ. œ œ œ. œ ‰
& œ œ ‰ J J J J J J
J
# j .
& œ œ œ œ œ œ œ Jœ œ œ œ œ œ œj œ ‰ j
œ œ œ œ œ
J J
res - plen - dis - sez sur Lui! Un Dieu sous d'hum - bles voi - les! Vient a nous cet - te
# j j œ œ œ œ.
& œ œ œ œ Jœ œ . œ œj œ œ J J
œ ‰ œ œ œ œ œJ
J J J J
# j j
& œ. œ ‰ œ œ œ ‰ œ œ œ œ œ ‰
œ. œ œ œ œ. œ
# œ œ œ œ
nuit. O nuit bri - lan - te Nuit de vi - ve splen - deur.
œ. œ œ œ. œ ‰ œ œ j
& ‰ J J œ œ œ. œ ‰
# j j j
œ œ œ œ ‰ ‰
& œ œ œ œ œ œ œ œ œ œ. œ
# œ œJ œ œ
Ta lu - miere e - cla - tan - te Fait le jour dans mon coeur.
œ œ œ ‰ j œ œ. œ
& J œ œ œ J ‰
J
Winter Has Passed Traditional, German
# 4 œ
& 4 œ œ œ ˙ œ œ œ œ œ œ ˙. ..
œ
# 4
Fine
& 4 œ ˙ ˙. ..
œ œ œ ˙ œ ˙ œ œ
# ˙ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ ˙ Œ
#
D.C. al Fine
& œ œ œ œ œ œ œ ˙ œ œ œ
œ ˙ œ ˙ Œ
Good King Wenceslas English carol

# 4 ..
& 4 œ œ œ œ œ œ œ œ œ œ ˙ ˙
˙
# 4
Good King Wen - ces - las looked down On the feast of Ste - phen,
Œ Œ ..
When the snow lay round a - bout, deep and crisp and e - ven.
& 4 œ œ œ œ œ œ ˙ œ œ ˙ ˙
# œ œ
& œ œ œ œ ˙ ˙ ˙
œ œ œ œ
#
Bright - ly shone the moon that night, though the frost was cru - el,
& œ œ œ œ œ œ Œ Œ
˙ œ œ ˙ ˙
# œ œ œ œ ˙
& œ œ œ œ œ œ ˙ ˙ w
#
When a poor man came in sight, gath - 'ring win - ter fu - el.
& œ œ œ œ œ œ ˙ œ œ œ œ w w
My Dancing Day Traditional
# 3 œ œ œ
& 4 œ œ œ œ œ œ œ ˙ œ œ œ œ
# 3
To - mor - row shall be my dan - cing day: I would my
& 4 œ ˙ œ œ œ œ ˙ œ
œ ˙ ˙ œ
# œ ˙
& œ œ œ œ œ ˙ œ œ œ ˙ œ
#
true love did so chance to see the le - gend
& œ œ œ œ ˙ œ ˙ œ œ œ œ
˙
#
& œ œ œ ˙ ˙ œ œ œ œ œ œ œ ˙ œ
œ
#
of my play, to call my true love to my dance. Sing
& ˙ œ ˙ œ œ œ œ ˙ œ œ œ œ œ ˙ œ
# ˙.
& ˙ œ œ œ œ œ ˙ œ ˙ œ
#
O my love, O my love, my love, my
& œ œ œ œ œ œ œ œ œ ˙ œ ˙ œ
#
& ˙. ˙ ˙ œ œ œ œ œ œ œ ˙
œ
#
love. This have I done for my true love.
& œ œ œ ˙ œ ˙ œ œ œ œ ˙ œ ˙
Ding, Dong, Merrily on High
# 4
Traditional
& 4 œ œ œ œœ œ ˙ . œ œ œœœ ˙ ˙ œ œ œ œœ œ ˙ . œ
# 4
Ding dong! mer- ri - ly on high, In heav'n the bells are ring - ing: Ding dong! ve - ri - ly the sky Is
œœœœ œ œœœœ Ó
& 4 ˙ ˙ œœ ˙ œ œœ ˙ ˙ œœ
# 4
& 4 œ œ ˙ œœ˙ œ œ˙ œœ˙ œ œ˙ œœ˙
# œ . œ IIœ œ œ IIœ œ . œ œ œ œ œ œ . œj œ œ
& œ œ œœ ˙ ˙ J J œ œ
#
riv'n with an - gel sing - ing. Glo -
& ˙ œœ œ œ œ œ œ œ œ Œ Œ Œ Œ œŒ œ Œ
œ œ œ
#
& œ œ˙ œœ˙ œœ œœœœ œœ œœœœ œœ œœ
œ œ
# j
& œ . œ œ œ œ œ œ . œj œ œ œ œ œ . œj œ œ œ œ ˙ ˙
œ œ
#
- ri - a, Ho - san - na in ex - cel - sis!
& œŒ œ Œ œŒ œ Œ
œ
Œ
œ
Œ ˙ œ œ ˙ ˙
#
& œœ œœœœ œœ œœœœ œ
œ œ œ œ œ œ œ ˙ œ œ ˙
Stars Were Gleaming
# 3
Polish carol
œ œ œ œ œ œ œ œ
& 4 œœ œ œ œ œ ˙ œ œ œœœœ
# 3
& 4 œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ
˙.
# 3
& 4 œ ˙. ˙. œ œ œ ˙ œ œœœ
#
& 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 ˙
p
#
(softly)
& œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ ˙
p
#
& ˙ œ ˙. œ œ œ ˙ œ œ œ œ œ œ ˙
B
A
G
Fingering Chart for B, A, and G
#
& w B
#
& w A
#
& w G
E
D
F (sharp)
Fingering Chart: E, D, and F#
#
& w E
#
& w D
#
& w F#
C
high D
high E
Fingering Chart: C, D E
#w
high and
& C
#w
& high D
#w
& high E
BII
My Own Fingering Chart
#
Label each note and color in the correct holes.
___ ___ ___
& w w w
w
___ ___ ___
& w w
w
___
w
___
w
___
&
Recorder
Exercises
correlated with
The Nine-Note Recorder Method
Penny Gardner
Exercises for Soprano and Tenor Recorder
# 4
Nine-Note Recorder Method, Part 1
& 4˙ ˙ ˙ ˙ ˙ ˙ 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 œ ˙
Do these exercises very precisely. Work on coordinating fingers and tongue. Remember to use do-do. (Not to-to.)
Repeat each line at least once. Gradually, increase the speed of the exercises as you are able.
Copyright © 2008 Penny Gardner Page 1

Recorder Exercises
# 3
Nine-Note Recorder Method, Part 1 (continued)
& 4˙ 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 ˙.
Do these exercises very precisely. Work on coordinating fingers and tongue. Remember to use do-do. (Not to-to.)
Repeat each line at least once. Gradually, increase the speed of the exercises as you are able.

Recorder Exercises
# 4
& 4˙ ˙ ˙ ˙ ˙ ˙ 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
˙
˙
As you progress through these exercises, go very thoroughly. Review often starting at the beginning of the booklet.

Recorder Exercises
# 3
& 4˙ 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
# 4
& 4œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ œ œ ˙ ˙

Recorder Exercises
# 4
& 4˙ ˙ ˙ ˙ 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
œ
œ
œ
˙
˙
#
& ˙ ˙ ˙
˙
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ ˙

Recorder Exercises
# 3
& 4˙ 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
# 4
& 4œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ œ œ œ œ ˙

Recorder Exercises
# 4
& 4˙ ˙ ˙ ˙ ˙ ˙ 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 œ œ œ œ œ
˙
#
& œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

Recorder Exercises
# 3
& 4˙ 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 ˙.
# 4
& 4œœœœ œœœœ œœœœ œœœœ œœœœ œ œ ˙

Recorder Exercises
# 4
& 4œ œ œ œ œœ œœ œœœ œ œœœœœœœœ œ œ ˙
#
& œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œ œ œ ˙
#
& œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œœ œ œ ˙
#
#
#
& œ œ œ œ œ œ œ œ œœ œ œ œ œœ œœœ œœ œ œ ˙
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

Recorder Exercises
# 4˙
& 4 ˙ 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 œœœœ œ œ œ œ œ œ ˙
4œ œ œ œ œ œ
&4 œ œ œ œ œ œ œ œ œ œ œœœœ 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
4˙
&4 œ œ ˙ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙

Recorder Exercises
3˙ ˙ œ œ œ œ œ œ ˙.
&4 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
˙.
# 4 œ œ œ œ œ œ œ œ œ œ ˙ ˙
& 4œ 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 œœ˙
#
& 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 ˙

Recorder Exercises
# 4˙ ˙
œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙ œ œ œ œ
& 4
# ˙ 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 œ œ œ œ œ
# œ œ œ œ œ œ œ œ œœ
& œ œ œ œ œ œ œ œ œ œ ˙
œ œ

Recorder Exercises
# 3˙ ˙.
œ ˙ œ œ œ œ œ œ œ
& 4 œ œ œ
# œ œ œ œ œ œ œ ˙.
& ˙ ˙ œ œ œ œ
#œ ˙
& œ œ œ œ œ œ œ ˙.
œ œ
# 4 œ œ œ œ œ œ œ œ œ œ œ œ
& 4œ œ œ œ œ œ ˙
# œ œ œ
& œ œ œ œ œ œœ œœ œœ œ œœ œœœœ 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 ˙

Recorder Exercises
# 4˙ ˙ œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙ œ œ œ œ
& 4
# ˙ œ œ ˙ œ œ ˙ œ œ
& ˙ œ œ ˙ œ œ ˙ œ œ
# ˙ œ œ ˙ œ œ
& ˙ œ œ ˙ œ œ ˙ ˙ w
# 4˙ œ œ ˙ œ ˙
& 4 œ œ œ ˙ œ œ
# œ
& ˙ œ œ ˙ œ œ ˙ œ œ œ ˙
4œ œ œ œ œ œ œ œ œ œ
&4 œ œ œ œ ˙
# 4œ œ œ œ œ œ œ œœœ œ
& 4 œ œ œ œ œ œ œœœ œ œ ˙

Recorder Exercises
3˙ ˙ œ œ œ œ œ œ
&4 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
# 4 œ œ œ œ œ œ œ œ œ œ œ œ
& 4œ œ œ œ œ œ ˙
4 œ œ œ œ œ ˙ œ œ œ œ œ œ
œ œ œ œ œ ˙
&4 œ œ œ œ
4œ œ œ œ œ œ œ œ œ œ œ œ œ
&4 œ œ œ
œ œ œ œ œ œ œ œ œ ˙
& œ œ œ œ œ œ œ œ œ

Recorder Exercises
# 4˙
Nine-Note Recorder Method, Bonus section. Use the alternate B fingering exclusively on this page.
˙ œ œ œ œ ˙ ˙ œ œ œ œ
& 4
# ˙ œ œ œ œ ˙ œ œ œ œ
& ˙ ˙
& œ œ œ ˙
# 4œ œ œ œ œ œ œ œ œ œ œ œ œ
& 4 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 ˙

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9N Lesson Plans

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Lesson Plans

NATIONAL MUSIC STANDARDS

Copyright © 2012 Penny Gardner 1

INQUIRY AND EXPERIMENTATION:

INSTRUCTION and GUIDED PRACTICE:

From page 1 of the book or PDF, play:

2 Copyright © 2012 Penny Gardner

SUGGESTED TEACHING PROCEDURE:

Copyright © 2012 Penny Gardner 3

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

Note: You may not have time to listen to

4 Copyright © 2012 Penny Gardner

INTRODUCTION and REVIEW:

Ask students to recall main points about these topics:

INSTRUCTION and GUIDED PRACTICE:

Copyright © 2012 Penny Gardner 5

SUGGESTED TEACHING PROCEDURE for each song:

6 Copyright © 2012 Penny Gardner

Copyright © 2012 Penny Gardner 7

INTRODUCTION and REVIEW:

INQUIRY and EXPERIMENTATION:

INSTRUCTION and GUIDED PRACTICE:

8 Copyright © 2012 Penny Gardner

The bottom line of each system is the harmony.

Copyright © 2012 Penny Gardner 9

SUGGESTED TEACHING PROCEDURE for duets and rounds:

Differentiation: Struggling students have a choice of playing, chin-playing, percussion, or

INDEPENDENT PRACTICE, PERFORMANCE, and ASSESSMENT: Allow students to play

10 Copyright © 2012 Penny Gardner

INTRODUCTION and REVIEW:

INSTRUCTION and GUIDED PRACTICE:

Copyright © 2012 Penny Gardner 11

SUGGESTED TEACHING PROCEDURE:

INDEPENDENT PRACTICE, PERFORMANCE, and ASSESSMENT: Allow students to play

12 Copyright © 2012 Penny Gardner

INSTRUCTION and GUIDED PRACTICE:

Copyright © 2012 Penny Gardner 13

SUGGESTED TEACHING PROCEDURE:

INDEPENDENT PRACTICE, PERFORMANCE, and ASSESSMENT: Allow students to play

14 Copyright © 2012 Penny Gardner

INTRODUCTION and REVIEW:

INSTRUCTION and GUIDED PRACTICE:

INDEPENDENT PRACTICE, PERFORMANCE, and ASSESSMENT: Allow students to play

Copyright © 2012 Penny Gardner 15

INTRODUCTION and REVIEW:

INSTRUCTION and GUIDED PRACTICE:

INDEPENDENT PRACTICE, PERFORMANCE, and ASSESSMENT: Allow students to play

16 Copyright © 2012 Penny Gardner

INTRODUCTION and REVIEW:

INSTRUCTION and GUIDED PRACTICE:

Copyright © 2012 Penny Gardner 17

INDEPENDENT PRACTICE, PERFORMANCE, and ASSESSMENT: Allow students to play

18 Copyright © 2012 Penny Gardner

INTRODUCTION and REVIEW:

INQUIRY with a partner:

INSTRUCTION and GUIDED PRACTICE:

Copyright © 2012 Penny Gardner 19

SUGGESTED TEACHING PROCEDURE:

INDEPENDENT PRACTICE, PERFORMANCE, and FORMAL ASSESSMENT: Allow students to

20 Copyright © 2012 Penny Gardner

INTRODUCTION and REVIEW:

INSTRUCTION and GUIDED PRACTICE:

INDEPENDENT PRACTICE, PERFORMANCE, and ASSESSMENT: Allow students to play

Copyright © 2012 Penny Gardner 21