Playing the

Soprano
Recorder
For School, Community, and the
Private Studio

Second Edition
With Piano Accompaniments Available Online for Practice and
Performance
Playing the
Soprano
Recorder
For School, Community, and the Private Studio
SECOND EDITION

With Piano Accompaniments Available Online

A Comprehensive, Interrelated and Interconnected Approach to

Teaching and Learning in Soprano Recorder

Lois Veenhoven Guderian

Published in partnership with

The National Association for Music Education

Rowman & Littlefield

Lanham · Boulder · New York · London
Published in Partnership with The National Association for Music Education

Published by Rowman & Littlefield

A wholly owned subsidiary of The Roman & Littlefield Publishing Group, Inc.
4501 Forbes Boulevard, Suite 200., Lanham, Maryland 20706
www.rowman.com

Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4 AB

Copyright © 2017, 2007, 2002 by Lois Veenhoven Guderian

Copyright 2008 by The National Association for Music Education
All Rights Reserved. Printed in the United States of America

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any
form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission
of the publisher.

British Library of Cataloging-in-Publication Information Available

Library of Congress Control Number: 2017952750

ISBN:  9781475838701 (paperback : alk. paper)

ISBN: 9781475838718 (electronic)
 To my husband, Don, with many thanks for your
encouragement and support in all of my musical endeavors,
and for your assistance with this manuscript,
without which the publication and its aesthetic beauty
would not be possible.
 About the Author
Lois Veenhoven Guderian, PhD Northwestern University, Evanston, Illinois;
Master in Music Education, Western Michigan University; Bachelor of Music
degrees from Hope College in Piano Performance and Vocal Music Education,
Major in Voice. Current: full time Music Education Coordinator at the
University of Wisconsin-Superior where Lois coordinates the music education
degree programs and is a professor of music education and integrated music
education. Lois enjoys a multifaceted career as a music educator; composer;
author; choral conductor; performer; researcher; clinician; arts program
designer and implementer for schools and communities; and designer/educator
of online music courses for higher education. Lois is an educator of all ages of
children and youth and was active as a choral, general and instrumental music
educator in Chicago area public and private schools, and colleges/universities
for more than 20 years. On invitation, in past and present roles, Lois has served the National Association
for Music Education in a number of capacities: author, composer, online mentor in choral music and
music composition, clinician and national adjudicator in composition. Lois has served on the board for
various Illinois State and Chicago area arts organizations and as Research Chair (2012-2016) and
clinician for the Wisconsin Music Educators Association. Awards and recognition for her work in music
education include the Music Educators Fellowship (2000); Music Educators PhD Fellowship (2001-
2004); and Emily Boettcher and J. Yule Bogue Scholarship for excellence in musical and academic work
(2003) all from Northwestern University, and from the University of Wisconsin-Superior (UWS), a
Wisconsin Teaching Fellows and Scholars SoTL Research Fellowship (2012-2013). In 2012 Lois
received the UWS Academic Service Learning Award for her commitment to community schools, and
designs of numerous mutually beneficial field programs in music education for educator preparation and
schools. In 2011, she was interviewed as one of five “very experienced” music educators from the US for
an article on what successful music teachers love about teaching music (Moore, P. (2011). Music from the
Heart. Teaching Music: Journal of the National Association for Music Education, 2011, 18(4), 38-43.
Lois has spent a lifetime devoted to children and youth in schools and teacher education Her efforts in
research, publication, and education have resulted in new models of arts education, teacher preparation,
and international programs. In recent years, she has developed a unique and effective learning
communities approach to educator preparation that has received national attention and interest. Under
Lois’ effective model of experiential learning in music education, school educators, children and youth in
schools, professors of education, and pre-service higher education students of music education work
together at a school site as a community of learners.
Private Studio: Throughout her professional life Lois has taught private piano, voice and composition.
She is an adjudicator for the National Guild of Piano Teachers and has worked for numerous
organizations in the role of adjudicator for children and youth singers, pianists, composers and choral
groups. During the 1990s she served as the Voice Chair and Outreach to Education Chair for the Illinois
State Music Teachers Association and has served as an adjudicator for the National Student Composition
Competition (National Association for Music Education) for more than 10 years.
Conductor, Clinician, Composer: A veteran choral conductor and clinician, Lois is a frequent presenter
for regional, state, national and international conferences on teaching and learning in the arts. She has
authored numerous published articles, textbooks and chapter contributions to books on music and arts
education. Composing and performing her own compositions in public since age 7, Lois’ songs, piano
pieces, instrumental and choral pieces and musicals span a variety of levels of complexity, style, and
instrumentation – from children’s songs and chamber pieces to works for full orchestra and double choirs.
Publishers include: Oxford University Press; NAfME- Rowman & Littlefield; Sage Publications; Corwin
Press; and NAC International; NAC North America and the National Association for Music Education.

vi
 Table of Contents

Overview
DEDICATION v
ABOUT THE AUTHOR vi
TABLE OF CONTENTS vii
FOREWORD (by Bennett Reimer) xviii
AUTHOR’S INTRODUCTION xix
TEACHING TIPS xxii
PLAYING THE SOPRANO RECORDER AND
THE NATIONAL STANDARDS FOR MUSIC EDUCATION xxv
KNOW THE LAYOUT OF PLAYING THE SOPRANO RECORDER xxx
USES IN VARIOUS EDUCATIONAL SETTINGS xxxiv
• Grades 4-8 and the Private Studio
• A Text for Preparing Music Educators and Elementary Education Majors
• Secondary School and Higher Education Introduction to Music, Aesthetic
Experience or General Music Courses
FINGERING CHARTS xxxix
LESSONS Section 1
• Supplementary Solos are in Lesson XVIII
• More Supplementary Solos follow Lesson XVIII
PIANO ACCOMPANIMENTS Section 2
• All Lessons Pieces (including Lesson XVIII: Supplementary Solos)
• More Supplementary Solos
ADDENDUM
• Glossary A
• Table of Notes and Rests E
• Index of Pieces F
• A Few Tips on Vocal Technique H
• Tips for Learning to Sing Six of the Vocal Pieces K
• Lesson Plan, Embedded Assessments, and Additional Resources P

S e c t i o n   1

LESSON  I   1  

TECHNIQUE AND FINGERING 1

• Learning How to Hold the Recorder
• Understanding the Hole Coverings
• Tonguing
• Blowing
• The First Three Notes, G, A, and B Fingering Chart
MUSIC LESSON 3
• Music Notes
w   Quarter Note
w   Half Note

vii
 LESSON I PIECES 4
• First Piece
• Now the Day Is Over
• Prelude I
CREATIVE CORNER 5
• Using the Notes G, A, and B, Compose Your Own Piece
THEORY AND TERMS 6
• Quarter notes
• Half notes
• Rhythm
ASSIGNMENT 6

LESSON  II   7  

TECHNIQUE AND FINGERING 7

• Review of Fingering and Technique from Lesson I (Notes G, A, and B)
MUSIC LESSON 7
• The Music Staff
• Treble Clef
w   Notes G, A, and B on the Staff
• Reading Music on the Staff
w   Repeated Notes, Steps and Skips
w   Notation
• Dotted Half Note
LESSON II PIECES 10
• Stop and Look
• Waltz
• Three Gray Mice
• Looby Loo Revisted
CREATIVE CORNER 12
• On the Staff Provided, Write Your Composition from Lesson I
THEORY AND TERMS 13
• Music Staff
• Step
• Repeated Notes
• Skip
• Treble Clef
• Notation
• Dotted Half Note
ASSIGNMENT 13

LESSON  III   14  

TECHNIQUE AND FINGERING 14

• Review of Fingering and Staff Placement for Notes G, A, and B
MUSIC LESSON 14
• Time Signature
w   Measure
w   Measure Bar Line
• Whole Note

viii
 LESSON III PIECES 16
• Piece
• Almost a French Folk Song
• Frère Jacques
• Hot Air Balloon Waltz
CREATIVE CORNER 17
• Create a Composition in 4/4 Using G, A, and B Notes
THEORY AND TERMS 18
• Tip for Writing Notes Correctly
• Time Signature
• Measure
• Measure Bar Lines
• Double Bar
• Whole Note
ASSIGNMENT 18

LESSON  IV   19  

TECHNIQUE AND FINGERING 19

• Two New Notes, C and D
MUSIC LESSON 19
•   Eighth Note
LESSON IV PIECES 20
• Little Bird
• Chester
• From Brahms’ First
• Twenty-First-Century Minuet
CREATIVE CORNER 22
• Rhythm Sounds Composition
• Homemade Instruments
THEORY AND TERMS 23
•   Eighth Note
ASSIGNMENT 23

LESSON  V   24  

TECHNIQUE AND FINGERING 24

• Review of Fingering for Notes C and D
MUSIC LESSON 24
• Dynamics: Louds and Softs of Music
• Dynamics Chart
LESSON V PIECES 25
• Song Without Words
• Prelude II
• Aura Lee
CREATIVE CORNER 27
• Add Dynamic Markings to an Original Composition

ix
 THEORY AND TERMS 27
• Piano
• Mezzo Piano
• Pianissimo
• Forte
• Mezzo Forte
• Fortissimo
ASSIGNMENT 27

LESSON  VI   28  

TECHNIQUE AND FINGERING 28

• Four New Notes, Middle C, D, E, and F
MUSIC LESSON 29
• C Major Scale
• Steps, Seconds
• Repeat Sign
LESSON VI PIECES 30
• Burleske (L. Mozart)
• White Coral Bells
CREATIVE CORNER 31
• Variation of Twinkle, Twinkle Little Star
THEORY AND TERMS 33
• Step
• Interval
• Skip
• C Major Scale
• Repeat Sign
• Syllable
• Solfège
ASSIGNMENT 33

LESSON  VII   34  

TECHNIQUE AND FINGERING 34

•   C Major Scale Practice
MUSIC LESSON 34
•   The Pickup
LESSON VII PIECES 35
• Peaceful Evening
• Amazing Grace
CREATIVE CORNER 36
• Create a Composition in ¾ Time Beginning with a Pickup
THEORY AND TERMS 36
• Pickup Note or Notes
• Downbeat
ASSIGNMENT 36

x
LESSON  VIII   37  

TECHNIQUE AND FINGERING 37

• Reviewing What You Have Learned (Dynamics)
MUSIC LESSON 38
• Dotted Quarter Note
• The Dotted Quarter Note in Famous Songs
LESSON VIII PIECES 40
• Deck the Hall
• Largo (A. Dvorak from the New World Symphony)
CREATIVE CORNER 41
• Compose a Four-Measure Rhythm Composition Containing the Dotted Quarter Note
THEORY AND TERMS 42
• Dotted Quarter Note
ASSIGNMENT 42

LESSON  IX   43  

TECHNIQUE AND FINGERING 43

• New Note, F# — F Sharp
MUSIC LESSON 44
• Key Signature
w   Allegro
w   D.C. al fine
LESSON IX PIECES 45
• Shepherds’ Song (L. van Beethoven from Symphony no. 6)
• Reminiscent of an Old Dance
CREATIVE CORNER 46
• Adding D.C. al fine to a Piece
THEORY AND TERMS 47
• Sharp (#)
• Accidental
• Key Signature
• Allegro
• D.C. al fine
• Double Bar
ASSIGNMENT 47

LESSON  X   48  

TECHNIQUE AND FINGERING 48

•   New Note, Bb — B flat
MUSIC LESSON 49
• Terms of Expression and Tempo
LESSON X PIECES 50
• Brother Come and Dance with Me (E. Humperdinck)
• Bird Song at Evening
• Canción de Cuna
CREATIVE CORNER 51
• Finish the Melody (Question and Answer Phrase)

xi
 THEORY AND TERMS 52
• Flat (b)
• Tempo Terms: Adagio, Allegro, Andante, Largo, Moderato, Presto
• Expression Words: Cantabile, Espressivo, Giocoso, Grazioso, Maestoso
ASSIGNMENT 52

LESSON  XI   53  

TECHNIQUE AND FINGERING 53

• Reinforcing the Fingering for F# and Bb
MUSIC LESSON 54
•   Rests
LESSON XI PIECES 56
• Jacob’s Ladder
• Playing Statues
• Joshua Fit the Battle
CREATIVE CORNER 59
• Create Your Own Rhythm Composition
THEORY AND TERMS 59
• Syncopation
• Rests
ASSIGNMENT 60

LESSON  XII   61  

TECHNIQUE AND FINGERING 61

• Three New Notes, High E, F, and G
MUSIC LESSON 62
• The Tie
• The Fermata
• Chorale
LESSON XII PIECES 63
• Higher and Higher Waltz
• The Tie
• Wake, Awake, for Night Is Flying
• The Ash Grove
CREATIVE CORNER 66
• Creating “Music Math”
THEORY AND TERMS 66
• Tie
• Fermata
• Chorale
ASSIGNMENT 67

LESSON  XIII   68  

TECHNIQUE AND FINGERING 68

• Practice for Facility

xii
 MUSIC LESSON 69
• Intervals
• The Natural Sign
LESSON XIII PIECES 70
• Andante (F. J. Haydn from the Surprise Symphony no. 94)
• Allegretto Scherzando (L. van Beethoven from Symphony no. 8)
• All Through the Night
CREATIVE CORNER 72
• Create an Interval Guessing Game for Your Class or Friends
THEORY AND TERMS 72
• Interval
• Natural Sign
ASSIGNMENT 72

LESSON  XIV   73  

TECHNIQUE AND FINGERING 73

•   Accidentals
MUSIC LESSON 73
• 6/8 Time Signature
• Note Values in 6/8 Time Signature
w   Primary Accent
w   Secondary Accent
LESSON XIV PIECES 75
• Irish Dance
• Vive la Compagnie
• A Very Old Tune
CREATIVE CORNER 76
• Compose Your Own Melody in 6/8 Time
THEORY AND TERMS 77
• 6/8 Time Signature
• Primary Accent
• Secondary Accent
• Meter
ASSIGNMENT 77

LESSON  XV   78  

TECHNIQUE AND FINGERING 78

• Staccato Playing (Jolly Old Saint Nicholas)
MUSIC LESSON 79
• Sixteenth Note
LESSON XV PIECES 80
• Camptown Races
• Little David Play on Your Harp
CREATIVE CORNER 82
• Compose a New Melody Using the Rhythm of Either Camptown Races or Little David

xiii
 THEORY AND TERMS 84
• Sixteenth Note
• Sixteenth Note Rest
• Sight-reading
• Subdivide
• Staccato
ASSIGNMENT 84

LESSON  XVI   85  

TECHNIQUE AND FINGERING 85

•   Legato Playing (Slur)
MUSIC LESSON 86
• The Dotted Eighth and Sixteenth Note Rhythm Pattern
LESSON XVI PIECES 87
• Fancy Skip Blues
• Dream
• Battle Hymn of the Republic
CREATIVE CORNER 89
• Add Slur and Staccato Markings to a Piece
THEORY AND TERMS 89
• Slur
• Dotted Eighth and Sixteenth Note Rhythm Pattern
• Legato
ASSIGNMENT 90

LESSON  XVII   91  

TECHNIQUE AND FINGERING 91

• Review of Fingerings for High E, F, and G and Review of Staccato and Legato Technique
MUSIC LESSON 91
• Eighth and Sixteenth Notes in 6/8 Time
• Dotted Eighth Note and Sixteenth Note Patterns in 6/8 Time
• Triplet
LESSON XVII PIECES 93
• Sur le Pont d’Avignon
• Tripleting Along
• Silent Night
CREATIVE CORNER 95
• Compose an Eight-Measure Rhythm Composition in 4/4 Time
THEORY AND TERMS 95
• Triplet
• Dotted Eighth and Sixteenth Note Rhythm Pattern in 6/8 Time
ASSIGNMENT 96

LESSON  XVIII   97  

SUPPLEMENTARY SOLOS 97
• Putting it All Together

xiv
 LESSON XVIII PIECES LESSON LEVEL OF DIFFICULTY
• Jingle Bells Lesson I 98
• Lully, Lullay Lesson II 99
• Nocturne Lesson III 100
• Go Tell Aunt Rhodie Lesson IV 101
• Du Liegst Mir im Herzen Lesson IV 102
• Dance for Leila Lesson V 103
• A Little Warbling Song (R. Schumann) Lesson VI 104
• From Heav’n Above to Earth I Come Lesson VII 105
• Alouette Lesson VIII 106
• Pomp and Circumstance (E. Elgar) Lesson IX 107
• My Country ’Tis of Thee / God Save the Queen Lesson X 108
• March of the Toy Soldiers (V. Herbert) Lesson XI 109
• Hatikvah Lesson XII 110
• Ode to Joy (L. van Beethoven from Symphony no. 9) Lesson XII 111
• There is a Balm in Gilead Lesson XIII 112
• Barcarolle (J. Offenbach) Lesson XIV 113
• Some Folks Do Lesson XV 114
• Blessing Lesson XVI 115
• When Johnny Comes Marching Home Lesson XVII 118
• Greensleeves Lesson XVII 120

MORE  SUPPLEMENTARY  SOLOS   121  

• Loch Lomond 121

• Parson’s Farewell 122
• The Trout (F. Schubert) 123
• Swing Low, Sweet Chariot / Nobody Knows the Trouble I’ve Seen 124
• Mi Y’malel 125

S e c t i o n   2

PIANO  ACCOMPANIMENTS  

LESSON I PIECES
• First Piece 1
• Now the Day Is Over 2
• Prelude I 3
LESSON II PIECES
• Stop and Look 4
• Waltz 5
• Three Gray Mice 6
• Looby Loo Revisited 7

xv
 LESSON III PIECES
• Piece 9
• Almost a French Folk Song 10
• Frère Jacques 11
• Hot Air Balloon Waltz 12
LESSON IV PIECES
• Little Bird 13
• Chester 15
• From Brahms’ First 17
• Twenty-First-Century Minuet 18
LESSON V PIECES
• Song without Words 19
• Prelude II 21
• Aura Lee 23
LESSON VI PIECES
• Burleske (L. Mozart) 25
• White Coral Bells 27
LESSON VII PIECES
• Peaceful Evening 29
• Amazing Grace 30
LESSON VIII PIECES
• Deck the Hall 32
• Largo (A. Dvorak from the New World Symphony) 34
LESSON IX PIECES
• Shepherds’ Song (L. van Beethoven from Symphony no. 6) 37
• Reminiscent of an Old Dance 40
LESSON X PIECES
• Brother Come and Dance with Me (E. Humperdinck) 42
• Bird Song at Evening 43
• Canción de Cuna 45
LESSON XI PIECES
• Jacob’s Ladder 49
• Playing Statues 51
• Joshua Fit the Battle 52
LESSON XII PIECES
• Higher and Higher Waltz 55
• The Tie 56
• Wake, Awake, for Night Is Flying 57
• The Ash Grove 59
LESSON XIII PIECES
• Andante (F. J. Haydn from the Surprise Symphony no. 94) 62
• Allegretto Scherzando (L. van Beethoven from Symphony 63
no. 8)
• All Through the Night 64
LESSON XIV PIECES
• Irish Dance 66
• Vive la Compagnie 68
• A Very Old Tune 70
LESSON XV PIECES
• Jolly Old Saint Nicholas (Exercise #33) 72
• Camptown Races 74
• Little David Play on Your Harp 76

xvi
 LESSON XVI PIECES
• Fancy Skip Blues 78
• Dream 79
• Battle Hymn of the Republic 81
LESSON XVII PIECES
• Sur le Pont d’Avignon 83
• Tripleting Along 84
• Silent Night 85
LESSON XVIII PIECES
• Jingle Bells Lesson I 87
• Lully, Lullay Lesson II 89
• Nocturne Lesson III 90
• Go Tell Aunt Rhodie Lesson IV 92
• Du Liegst Mir im Herzen Lesson IV 94
• Dance for Leila Lesson V 96
• A Little Warbling Song (R. Schumann) Lesson VI 98
• From Heav’n Above to Earth I Come Lesson VII 100
• Alouette Lesson VIII 101
• Pomp and Circumstance (E. Elgar) Lesson IX 103
• My Country ’Tis of Thee / God Save the Queen Lesson X 106
• March of the Toy Soldiers (V. Herbert) Lesson XI 107
• Hatikvah Lesson XII 110
• Ode to Joy (L. van Beethoven from Symphony no. 9) Lesson XII 112
• There Is a Balm in Gilead Lesson XIII 115
• Barcarolle (J. Offenbach) Lesson XIV 118
• Some Folks Do Lesson XV 121
• Blessing Lesson XVI 123
• When Johnny Comes Marching Home Lesson XVII 131
• Greensleeves Lesson XVII 134
MORE SUPPLEMENTARY SOLOS
• Loch Lomond 136
• Parson’s Farewell 139
• The Trout (F. Schubert) 141
• Swing Low, Sweet Chariot / Nobody Knows the Trouble I’ve Seen 144
• Mi Y’malel 147

Website Link for Online Practice and Performance:

http://textbooks.rowman.com/supplements/guderian

Playlist for downloads provided on the last page of

the text.

xvii
 Foreword
Lois Guderian brings a wealth of experience as a teacher, musician, scholar, and writer to her
materials for recorder performance. I was privileged to have her services as a teaching assistant
at Northwestern University, and was able to observe her in each of those roles. Her intelligence
and musicality are exceptional, as is her devotion to the musical education of people of all ages. I
am not surprised, therefore, to have discovered how competently and expertly she has applied
her abilities to instructional materials in an area in which she has deep interest and a wide
background.
This project brings her strengths together in exemplary fashion, demonstrating how thoughtful
pedagogical insights can be translated into practicable and engaging teaching-learning materials.
The skills of performing, the workings of music notation, the use of diverse literature, the
composing lessons, all add up to rich and satisfying experiences that will delight all who are
lucky enough to study this fruit of her talents.
Teachers and students will find the instructions clear and concise and the arrangements solid and
easily playable. The progression of learnings is carefully constructed, providing for both
sequential development and a variety of challenges to keep things interesting. While theoretical
learnings are accounted for they are related to and reinforced bountifully by their applications in
music itself. The care with which the learnings are explained and expanded on insure clarity for
both students and teachers, while allowing for room to explore related learnings that can be
added as desired by those wishing to go off in a variety of directions. Structure and freedom are
balanced nicely.
The musical examples represent an interesting, diverse collection of styles and types, adding to
the attractiveness of the learning opportunities. Her accompaniments are appropriate and easily
managed by teachers and students themselves who have some experience at the keyboard, adding
to the enjoyment of class activities. The included music website offers an extra benefit in
freeing the teacher from always having to accompany, thereby allowing full attention to what
the students are doing. And the challenges of the “Creativity Corner” add an important
dimension to those of performance, widening the sense students will receive of how the
musical roles of composing and performing support each other.
Students engaged with these materials will both learn and enjoy; their musicality and their
excitement about encountering the delights of being a performer will reinforce each other to the
benefit of both. Each of the versions will serve its purpose admirably. Guderian has made an
excellent contribution to the teaching and learning of recorder performance and to the musical
education of those privileged to experience the wise, thoughtful guidance her material provides. I
am gratified to have worked with and to know this admirable, enthusiastic music educator. And I
envy those whose experiences in learning to perform will be as solidly based as she has enabled
in this contribution she has made among so many others.
Bennett Reimer
John W. Beattie Professor of Music Education Emeritus
Northwestern University

xviii
 Author’s Introduction
Playing the Soprano Recorder is an interconnected, sequentially ordered teaching and learning approach to the
development of musicianship in playing and singing skills, music reading and ensemble playing, and applied creative
thinking in music. During the teaching and learning process of each Lesson, students and educator perform, create and
respond to music together. The text is an outgrowth of the author’s philosophy that the interactive process of teaching
and learning in music should be an enjoyable musical and social experience. Based many years of experience as a
music educator, in the author’s belief, all humankind is born with musical and creative potential that can be developed
through formal education. Musical ability is the result of formal education and informal life experiences with music.
Music making is a primary way individuals connect with self and communicate with others. Music education should
be comprehensive and made available to all individuals in a society. This purpose of this text is to that end. The
sequence of the text content offers educators an organized framework to use in their teaching and learning toward
providing students with an excellent foundation for instrumental and vocal music study, ensemble playing, and reading
and creative writing in music. Opportunities for students to apply what they are learning in creative ways are offered
throughout the text. Educators are encouraged to think of the text as a framework for their own creative ideas in
teaching and learning.
Playing the Soprano Recorder is suitable for use in classrooms, private instruction, in small and large group
instruction, and in self-educating. The age, ability and size of the group, and time spent in instruction, will determine the
amount of material that is covered in one teaching and learning session. Both in private and class study, educators and
students should proceed at their own pace as time allows. Each Lesson contains a section on technique: one or two new
musical concepts and terms; follow-up materials; pieces to practice, play and perform that reinforce the new material
introduced in the lesson; and opportunities to apply the newly learned concepts and skills in creative ways. The
Creative Corner assignments are embedded assessments – usually in the form of a composition assignment or other
form of creative application directly related to the lesson content. All practice/performance pieces in the Lesson
reinforce the music and concepts, music reading and musicianship skills introduced in that particular lesson. There are
two versions of Playing the Soprano Recorder: one for public school music education, private study and community
and one for parochial school and church music education, private study and community. The difference in the two
versions is the inclusion of literature. For those involved in church and parochial school music education,
approximately one third of the seventy-six ensemble pieces are arrangements of sacred hymns. All of the ensemble
pieces in the public-school version are arrangements of songs and music from historical music sources: American,
ethnic, world, folk, classical (Western), or they are original pieces by the author/composer.
When using this text for education, it is better to learn the materials in each lesson thoroughly before moving to the next
lesson, as each new lesson builds on what has been learned in previous lessons. Unless the texts are housed at a school
or community center, students should be encouraged to practice at home. As is the case when learning to play any
instrument, positive reinforcement, encouragement, and consistency in practicing are essential factors in student
success. For students, motivation to practice comes in large part not only from musical experience, but from
experiencing self-progress and success in learning and making music. Section II of this text provides piano
accompaniments – a full score inclusive of the recorder part and any additional instrumental or vocal parts – for each
piece presented in the Section I Lessons. For some pieces, there are additional instrument parts to enrich the musical
experience and to provide opportunities for collaborative music making, teaching and learning in accompanying and
ensemble playing.

xix
When working with younger children, it is not necessary to have them read every word of instruction that is included in
the student version of the Lessons. Although the text is recommended for age 9 through adult level beginners, for
elementary age students, modeling the techniques of recorder playing, such as, how to hold the recorder, tonguing, etc.
will be more effective for learning how to play the instrument than by having the children read about it and then try it.
Showing, doing, and involving children immediately with “hands-on” learning should by far outweigh verbal
instruction and/or reading of “how to do it.” The written explanations are for older students, higher education students
of education who need to learn how to sequence teaching and learning in soprano recorder and other subjects, self-
teaching individuals, and for educator reference. For integrated learning purposes, children can read the instructions in
the text after they have learned from modeling and hands on learning. This differentiated way of reviewing and
reinforcing the hands-on instruction will likely serve a portion of the students well and contribute to the development of
children’s ability to read text. Adult learners and higher education students in teacher education courses also appreciate
modeling of the techniques. An educator can prepare to engage students in the teaching and learning of lesson content
by studying these sections in advance of the time spent with the students. Likely, younger children will take longer to
cover the material than older children, youth and adults. A flexible approach to pacing of instruction is recommended.
For students who can move through the lessons quickly and need additional literature, there are two sections of
additional recorder solos, Supplementary Solos found in Lesson XVIII and More Supplementary Solos that follows.
Students of all ages can and should be encouraged to learn the tones and fingerings by rote on the first day and to play
echo question and answer phrases with the educator, and in paired groupings. Since a semi-iconic form of Western
music notation is presented in Lesson I as a pre-reading strategy, students can read and write music and play pieces
from the first day of learning tones G, A and B and ongoing as new tones and fingerings are learned. Applied creative
activities and beginning composing activities are embedded in the lessons both as an assessment measure and for
students’ development of creative thinking in music.
One of the benefits of using this text is the possibility it opens for connections with other areas of learning. Many of the
pieces have historical implications and can serve as a catalyst for forms of integrated and interdisciplinary studies. Of
these pieces, most include words for combined singing and recorder experiences. Some pieces have been arranged for
recorder and instrumental ensemble and / or singers. All of the pieces and solos in the book have optional keyboard
accompaniments arranged in various levels of difficulty to provide accompanying experiences and collaborative music
making opportunities for many students. With creative planning, the children/youths can do everything in the
performing and sharing of these pieces! The materials in this book reinforce and “cross over” nicely into orchestra and
band playing, choral singing, the private studio, public and private school music education and personal enjoyment of
music. The ensemble arrangements are appropriate for school and community programs, recitals, and other kinds
of public performance. A practice/performance website with piano accompaniments comes with the complete/
educator version of the text, and is available separately.

Collaborative Learning Across School, Community and Private Studio

Certain aspects of music education are common to all endeavors. Collaborations between school and community
music educators, school and private studio educators, private studio educators and community are possible, and provide
ways to increase educator effectiveness and student learning. It is easy to use Playing the Soprano Recorder for
teaching and learning across areas of learning in music and to do so can help to make the most of educators’ and
students’ time. Everyone can benefit from collaborations, and for students, learning in music is reinforced in a variety
of ways. School and community partnerships can be made with and between the following organizations:

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Community- Public and private schools; community centers and theatres; summer and after school
camps and clubs; senior citizen programs at resident homes; organizations looking to partner with other
organizations or universities through Academic Service-Learning and other means of civic engagement;
symphony orchestra programs and partnerships (Contact the author for standards-based outgrowth
programs in soprano recorder for partnering with university and community orchestras.)
Church or Synagogue - An excellent way to build the musical culture in the church or synagogue
congregations is to include 10-15 minutes of music instruction in recorder daily or weekly as part of faith-
based education. Many of the pieces in the text are for both singer and player and are appropriate for
sharing in congregational music making.
Private Studio - Schedule back-to-back lessons with private students to provide opportunities to develop
accompanying skills and collaborative ensemble music making skills. Include a group recorder class as
part of private studio offerings to lay the foundations for beginners, and/or for students interested in
accompanying, composing, and learning how to use notation programs.
Classroom Educators - Incorporate recorder, singing and composing into teaching and learning in the
classroom as part of daily instruction in music, as part of interdisciplinary and integrated studies, aesthetic
music experience, and social music making. Plan daily recorder time, or 3 times per week recorder
workout 6-10 or more minutes per session.
Higher Education Teacher Preparation - Use as one of many texts in music educator and classroom
educator preparation; especially for the purposes of learning how to sequence and interconnect instruction
in music, and how to embed assessments into instruction. Use also in field experiences and collaborations
with community partners, and special field projects in the schools.
Academic Service-Learning Programs - Provide middle school and older age students opportunities to
learn to read, play and compose music by having them help out with youth programs and adult and senior
music programs. Experiences are mutually beneficial for providers and recipients.
Secondary, Higher Education and Adult Education - For middle school through adult levels of
beginning music education, use Playing the Soprano Recorder as a resource to nurture beginning music
reading and creative writing abilities, solo and ensemble playing and singing, independent learning, and
social music making and learning with peers.
School and Community Summer Programs - In partnership with schools and communities, provide
after school and summer programs in recorder playing, music reading and composing.

xxi
 Teaching Tips
1. To begin soprano recorder studies, face
the students and hold the recorder so
students can see your fingers and model
what you are doing. It is also helpful to
turn around briefly, facing the same
direction as the students, and hold the
recorder up with the left hand, showing
the left-hand thumb placed underneath the
recorder on the thumbhole to make sure
there is no confusion regarding right and
left hand holding of the instrument.
2. In order to help students to become
familiar with the instrument and to gain
facility in playing, after the initial
instruction on how to hold and blow into
the recorder, and the learning of the
fingering for the first three tones, provide
the students with several “echo playing”
experiences; i.e. musical question and
answer experiences. No notated music is
necessary for this “follow the leader”
musical exercise. The teacher or leader
plays short, two-measure phrases in 4/4 on
the notes G, A and B. The students, in
group response, answer by copying the
educator or leader with the same phrase.
Over the course of several days, after
numerous experiences with this activity as
a warm up, and when students are able to
respond with ease, provide the students
with a two-measure phrase (again with G,
A, and B) and have them improvise an
answer back to you. This can be done
quickly, going around the group to each
one. Establish an order for student
response before you start the chain of play
and response. Simply look at each child
when it is their turn to play and keep the
beat going as possible. This exercise can
be repeated each time new fingerings and
notes are introduced. This exercise is also
extremely valuable and effective with
older learners, adults in higher-education
introduction to music classes, and in
teacher education courses.
xxii
3. When new pieces are introduced, the
educator can continue to hold the
recorder in the students’ view. Seeing the
correct fingerings helps students in
learning how to play the pieces. While
showing the fingering of a new piece, the
teacher can play the piece, with fingers
only, while saying or singing the names
of the tones/notes aloud. Students can
play along at the same time. This is
especially helpful for teaching and
learning new pieces.
4. For elementary age students, the use of
flashcards (8x10 or larger) of note
values, note names, rhythm patterns, and
signs and symbols can make learning
“fun” and reinforce previous lessons.
One or two minutes of review and warm-
up with flashcards will engage the
attention of students immediately. The
flashcards can be homemade or
commercial.
5. Counting and clapping the rhythm of a
new piece before playing it is almost a
“must do” in the learning process.
6. Having the children read and say the note
names of a piece that is placed on the
staff, before playing it, reinforces note
reading on the staff and makes playing
and reading music at the same time more
accessible.
7. Educators can play the piano part along
with the students’ playing, or have
someone else play the piano part, or play
the practice/performance piano-
accompaniment-download for a piece
while the students play the recorder
part. This helps the players to develop a
steady beat in their playing, and the
duet between the instruments adds
another aesthetic dimension to the
musical experience. And, it provides
students with an enjoyable ensemble
playing experience.
8. Use a document camera to project
students’ creative work on an interactive
board or screen so you (or the composer)
can point to the notes of the piece as
the class plays each student’s piece.
Playing all students’ Creative Corner
compositions adds sight-reading experience
for everyone, and reinforces the content in
a given Lesson. The applied creative work
is extremely enjoyable, motivating, and
reinforcing for students, and adds another
dimension to the learning experience.
Providing pictures of the pieces, charts
and displays of content on an interactive
board enable educators to point to the
progression of music reading throughout a
piece and to additional information that is
vital to the learning. One of the most
effective ways to help individuals to learn
how to read music, is to follow along with
hand or finger in a piece of music while
the student(s) reads and plays the music.
9. For children who have experience in
recorder playing and/or can move ahead
at a faster pace than the rest of the class,
allow them to choose from pieces in
the Supplementary Solos and More
Supplementary Solos sections found in
and after Lesson XVIII and, encourage
them to compose additional pieces.
10. Dependent on the age and ability of your
group, and the amount of instruction time,
use flexibility in moving faster or slower
through the Lessons. It is probable that
younger children will take longer to
complete the content of all of the Lessons
than older students. Higher education
students are able to complete Lessons I
through XVII in one semester when the
text is one portion of course content.
Young students might complete the text
over 4 years of study in general music –
grades 4th-8th – if recorder is one portion
of the numerous content areas of general
music. The sequentially ordered content
begins with the very basics of music
reading and recorder playing with
progression to quite sophisticated levels
of music reading by Lesson XVII.
11. Isopropyl alcohol and tissues for cleaning
the mouthpieces are useful to have on
hand. Some stores carry a mint flavor.
12. Since words are included in the song
arrangements prepared for recorder and
singer, learning how to sing the piece
will serve as ear training for learning
how to play it and vice versa. If a piece is
a song with lyrics, have students learn to
sing it!
13. Teachers and students are encouraged to
make use of the opportunities this book
provides for singing in both unison and
in ensemble experience with multiple
singing and recorder parts. Some of the
arrangements include more than one
vocal part and more than one recorder
part. For vocal instruction and learning
and performing of songs, see the
Addendum section for beginning vocal
instruction and specific instruction tips
for 6 of the songs in this text. In order to
develop the singing voice and the ear
training necessary for singing in parts,
children should be engaged in singing
and instrument playing from early
childhood through adulthood. For both
children and adults, the ability to sing on
pitch and to sing in parts is developed
through consistent vocal pedagogy and
sequencing of instruction applied to
singing in unison and in parts. Children
who learn the joy of expressing them-
selves through singing at an early age
develop a life-long love of singing.
Adults are able to develop confidence in
their ability to sing when exposed to the
basics of vocal technique and with
consistent practice. Learning how to play
the soprano recorder and learning how
xxiii
 to sing reinforce each other in helping
students to acquire musical understanding
and to develop the musicianship skills
of sight-reading, ear training, ensemble
singing and playing, and performance.
By engaging in both recorder and
singing learning activities, students will
grow faster and stronger in developing
musicianship.
14. The desire to make and create music is
innate in all human beings. Although the
level of proficiency in skills required to
play, sing, and create music at relatively
high levels of achievement requires time
and consistent effort, learning should and
can be an enjoyable process from the
initial learning of three-note exercises and
pieces through levels of learning and
understanding that allow for advanced
levels of playing and sophisticated levels
of composing. Concentration on the joy of
making and sharing music and attention to
musical expression and communication
can help to achieve musicianship goals.
16. It is suggested that students keep a music
15. While not composition “lessons” in the
truest sense of compositional study,
the Creative Corner activities provide
educators and students with opportunities
to apply their understanding of the Lesson
xxiv
content and learning in applied
musicianship skills in creative ways. This
is not only fulfilling for students but adds
another dimension to both the musical
experience and the learning experience.
As educators, there are many ways
we can provide our students with
opportunities to apply what they are
learning in creative ways. In doing so, we
help students to develop creative thinking
in music. As is the case in developing
any ability, consistency in the opportunity
to use creative thinking helps to nurture
and develop it. Creative thinking
becomes a way of life aiding our students
in their development to become creative,
independent learners and music makers.
Each Creative Corner assignment is
an example of a Model Cornerstone
Assessment advocated by the National
Association for Music Education. The
knowledge and skills needed to complete
the assignment are embedded into the
instruction.
staff paper notebook with extra sheets of
staff paper for their extended creative
work. Two sheets of staff paper, located
in last pages of this book, are included
for duplication to this purpose.
 Playing the Soprano Recorder and
the National Standards for Music Education
Playing the Soprano Recorder engages students in performing, creating and responding to
music – the aims of the 2014 National Standards for Music Education – and in the various
content areas of the 1994 National Content Standards for Music Education. This section provides
understanding in how Playing the Soprano Recorder is in alignment with the new national
standards for music education, and how the text can support music educators’ efforts to meet
both the new national and individual state standards in content areas of music education. This
text was written for use in the NAfME designated core – general music class, and for the purpose
of laying the musicianship groundwork for, or in conjunction with classes in the various
ensemble strands, and in group and private teaching outside of the schools.

An Interrelated and Interconnected Approach with Model Cornerstone Assessments

Educators will likely find lesson planning, according to the new national standards, time-saving
when using the text Playing the Soprano Recorder for teaching and learning. Each Lesson (the
Lesson is equivalent to a chapter) provides educators with content whereby the artistic processes
of performing, creating and responding to music are provided in an interconnected way. In this
sense, interconnection means that the musical content of the lesson is interconnected or, another
way to describe it, interrelated. Thus, the artistic processes of performing, creating and
responding are intentionally interconnected. The Technique and Music Lesson sections of each
Lesson introduce new musical concepts and technique, exercises to reinforce learning, and
several music Pieces that further reinforce the concepts and technique. The Creative Corner
assignment is an outgrowth of this teaching and learning in concepts and playing skills. Students
are given an open-ended composition assignment whereby the criteria for the assignment aligns
exactly with what the students learned in the Music Lesson and Technique sections of the Lesson
and what the students experienced in learning to play the Pieces. Thus, the Creative Corner
assignments are Model Cornerstone Assessments. The knowledge and skills needed to complete
the assignments are embedded in the instruction. Differentiation is a natural characteristic of
engaging students in the Creative Corner assignments. Each student enters the activity of the
assignment at his/her unique level of understanding. The student’s background, interest and
learning profile will also impact their response to the assignment and their ability to complete the
assignment. During the students’ working out process of the assignment, educators’ can circulate
providing scaffolding where and when needed. A student’s working out process of the task and
product will reveal his/her strengths and weaknesses in understanding. Students are responding
within and throughout this interconnected/interrelated teaching and learning process in
performing and creating.

In addition to this interrelationship and interconnection of the musical content of the lesson,
students are making connections in other ways. Students connect with self and others, and
express themselves during the playing, creating and responding processes of the learning process
described above. Students also connect and communicate with each other through rich ensemble
playing and at times, paired or small group practicing and composing. And yet a third meaning
of the word connect is inherent in the text contents. Since several of the pieces are arrangements
of songs from American or world history, connections to other arts and subjects are possible. In
the case of learning the songs for the purpose of developing the singing voice, the connection is

xxv
within the discipline, that is, to another area of music education: vocal/choral music. Using each
lesson as a nucleus for study, educators can engage students in research on listening to music as
an outgrowth of the lesson content, in finding historical contexts and information on the pieces,
and, dependent on the goals for the lesson, in processes of comparing, describing, evaluating,
analyzing, synthesizing, interpreting and others.
Each artistic process is made up of components necessary for engaging in that particular process.
For example, within the process of creating, there are 4 components: 1) imagine, 2) plan and
make, 3) evaluate and 4) refine. Essential Questions and Enduring Understandings are offered to
provide understanding as to how a plan is one part of the ultimate purposes and meaning of
music education – to be able to make and create music with others independently, inside and
eventually, outside of the school setting. The Creative Corner section provides educators and
students with opportunities to imagine, to plan and make, to evaluate and to refine in the teaching
and learning processes of beginning composition. How much time is given to each component
process, how the lesson is designed around the processes, what kind of environment is
established in a classroom for the work, and how the teaching and learning plays out is up to the
educator. The materials and sequence of instruction in each Lesson make possible the design of
lesson plans in the new national format and in any format due to the natural alignment with the
components of each artistic process, and to the Enduring Understandings and Essential
Questions. It is then simply a matter of designing a lesson plan according to the breakdown of
the standards into the defined age groups. For example, completing the Creative Corner for
Lesson I would involve all 4 process components of the artistic process create. The first lesson
plan in the sequence would include Imagine: Generate musical ideas for various purposes and
contexts. Enduring Understanding: The creative ideas, concepts, and feelings that influence
musicians’ work emerge from a variety of sources. Essential Question: How do musicians
generate creative ideas? And at 4th grade level. MU:Cr1.1.4a Improvise rhythmic, melodic, and
harmonic ideas, and explain connection to specific purpose and context (such as social and
cultural) (NAfME, 2014).
The lesson plan would include a step by step account of how this would be accomplished from
the priming activity through the completion of the instruction that would provide opportunities
for the students to imagine for the next part of the process: plan and make. See the last section on
lesson plan and assessments for an example of a whole lesson plan.

Playing the Soprano Recorder and Content Areas of Music Education

1. Singing, alone and with others, a varied repertoire of music

Almost all of the pieces in this text that were originally songs have the words included for
ensemble singing and playing. Because vocal literature is included in a substantial way in this
text, music educators have many opportunities to work with students on developing the singing
voice and vocal technique. The arrangements are such that many of the songs can stand alone as
possible contest or performance solos. See the Addendum section for beginning instruction in
vocal technique and for instructional tips on 6 of the songs included in this text. Educators can
adapt these studies according to the select, analyze, interpret, rehearse, evaluate and refine
components and Essential Questions and Enduring Understandings of the performing artistic
process.

xxvi
2. Performing on instruments, alone and with others, a varied repertoire of music
In addition to solo or unison soprano recorder playing, several of the pieces are arranged for
optional two-, three-, and four-part soprano recorder. Some pieces include an optional alto
recorder part, Orff instrument parts, and strings. Supplementary online resources include optional
parts for Orff, band and orchestra instruments. Guitars, ukuleles, autoharps, and other classroom
instruments are natural, musical additions to the arrangements. Piano parts are written in a
variety of levels so children, youth and adults at varying levels of piano study can learn a piece
and accompany the class, groups or individuals. Due to the flexibility in adaptation of parts for
varying levels of musicianship, the text is an excellent source for ways to differentiate teaching
and learning strategies in the general music classroom. Educators can adapt these studies
according to the select, analyze, interpret, rehearse, evaluate and refine components and
Essential Questions and Enduring Understandings of the performing artistic process.

3. Improvising melodies, variations, and accompaniments

The Creative Corner sections and Teaching Tips section feature opportunities and suggestions
for improvisation. Teachers new to teaching improvisation and composition will find the text
understandable, non-threatening and very “hands on” for both teachers and students. The
Teaching Tips section offers suggestions for engaging children and older individuals in
improvisation that can stimulate creative thinking and explorations in music, reinforce music
reading, and help students to develop tools and understanding for composing and notating music
in traditional and nontraditional music notation. Improvising is part of the create artistic process.

4. Composing and arranging music within specified guidelines

The Creative Corner assignments are embedded assessments – each one an example of Model
Cornerstone Assessment. That is, the assignment is directly related to and reinforces the lesson
content, and provides students with an opportunity to demonstrate understanding of the content
of the lesson. The skills and knowledge needed to complete the task are embedded in the
instruction. The Creative Corner assignments also provide educators and students with a way to
develop creative thinking in music and beginning understandings for music composition. Since
all of the lessons are sequenced – each one building on what the students experienced in previous
lessons, so are the applied, creative assignments. The Creative Corner assignments are open-
ended frameworks for students to develop musical creative thinking, notational skills, and
beginning understandings in composition in a sequenced and consistent way. Providing students
with consistent opportunities to demonstrate learning in original and creative ways helps students
to develop musical independence and to participate in the ownership of the teaching and learning
experience. For group teaching and learning, most improvisation and composition activities can
be completed within one 30-40 class time that includes review of the lesson content and
supporting listening examples to further stimulate ideas and understandings for creating music.
Dependent on an educator’s own creative use of the text content, some Creative Corner
assignments will warrant carry over to another day of class, or be given as homework, especially
when there are plans to share and play all students’ pieces during class. And, students do love to
share their pieces and experience class studies whereby their piece is part of the lesson content
for learning to read and play music. If a student has more background experience in music than
the majority of the students in the class, and if their experience and understanding exceeds the
level of understanding required in the suggested criteria for the Creative Corner assignment,

xxvii
educators can apply differentiated teaching and learning practices. Either prepare an open-ended
composition framework specifically for that child or individual’s level of learning, or help the
student to make a plan. Remind the student that if he/she wants their classmates to be able to
play their piece, he/she might consider writing two pieces: one under the framework of the
criteria provided in the text, and one that is more advanced. The educator and/or student can play
the advanced piece for the class. Even for advanced students, there is something to be learned in
writing a piece according to the criteria of the Creative Corner assignment. It is no small
challenge to write a musically appealing piece within guidelines even when then guidelines are
open-ended.

5. Reading and notating music

Music reading, and writing notation are presented in a sequential, consistent, progressive, and
logical way as part of each lesson. The Lesson pieces and Supplementary Solo sections provide
students with opportunities to learn and to reinforce music reading, and provide opportunities for
individuals who need accelerated learning to work ahead and learn additional literature. Learning
how to compose and notate music in both traditional and non-traditional notation is part of the
plan and make, evaluate and refine components of creating music, and can also be a part of the
presentation.

6. Listening to, analyzing, and describing music

The Practice/Performance music that comes with this book includes recordings of
the accompaniments of pieces for music that represents multiple styles: both vocal and
instrumental. It is very easy to Google numerous recordings of most of the pieces
and to build listening/responding/analyzing/describing lessons around a piece. Students
have a sense of participation in a larger work when they have personally experienced the
melody by playing it. And, as a result, are usually able to perceive the melody they have
learned how to play as the main theme of a piece. For example, students can learn to play
the arrangement of Dvorak’s Largo. Educators can subsequently engage students in listening
and responding to the second movement of the New World Symphony, or a portion of it, for
purposes of discussion that include analyzing and describing music. Further class and
individual student efforts in research on Dvorak and the Largo from the New World
Symphony can reveal numerous, beautiful arrangements in multiple vocal styles of the
song made from the Largo theme, Going Home. With the creation of a comparison chart
framework, educators and students can respond to these listening experiences, and analyze and
describe the music during whole group, small group, paired teaching and learning
experiences, and in individual written assessments. Thus, educators can use a piece from a
Lesson, that students have learned how to play, as a catalyst for analyzing and describing music
experiences; or as a nucleus for a unit on a particular work that includes other areas of music
instruction and connected learning experiences. Class discussions, written descriptions,
comparisons, and group presentations based on the music included in this book are all possible
avenues for teaching and learning in music and other subjects, and ways to engage students in
the response components of selecting, analyzing, interpreting, and evaluating that support
the development of musicianship, understanding in music, and can lead to students’ making
of personal connections within and outside of music.

xxviii
7. Evaluating music and music performances
There are a variety of pieces in this book. Some are suitable for performance in conjunction with
assemblies, recital programs, concerts, church and synagogue services, and interdisciplinary and
integrated collaborative presentations. Rubrics, portfolios (recorded examples, etc.), and other
means of assessment can serve students and educators in self, peer, and educator evaluation.
Sharing of students work, and the recording of solo and group performances and creative
products in the classroom for peer and self-evaluation can be interesting and very useful. Levels
of achievement for the new national standards are useful for designing rubrics for assessment and
evaluation. See the Addendum for a few examples of rubrics and other forms of assessment and
evaluation.

8. Understanding relationships between music, the other arts, and disciplines outside the arts
The possibilities for creating lessons that emphasize connections between music and the other
arts and subjects are endless. Each Lesson is already in an interrelated and interconnected format
for teaching and learning within the discipline of music. Every aspect of the Lesson content, the
pieces that are offered and the embedded creative assignment/assessment are interconnected to
reinforce all aspects of learning in that chapter. The discipline-based, sequentially organized
format of the book facilitates interdisciplinary connections to the other arts and subjects outside
of the arts. Whether an educator develops an interdisciplinary comparison lesson on the concept
of phrase in music and phrase in lyric writing based on songs like The Ash Grove, or during
studies of the C major scale in Lesson VI engages students in some acoustics basics with an
experiment whereby the students adjust levels of water in bottles to make the scale and
subsequently play and compose pieces using the bottle scale, or develops lessons surrounding the
relationship between meter and fractions, or the correlations between form and harmony in music
with form and color in art, via the many forms of integrated and interdisciplinary teaching and
learning, connections from and between the musical concepts and musical literature offered in
this text, and in other texts, are numerous.

9. Understanding music in relation to history and culture

The music educator can use the material in this book to connect to lessons in history, social
studies, art, literature, poetry, and drama, as well as to other music. Many of the songs stem from
historic periods in American history (e.g., Chester; Amazing Grace; Swing Low, Sweet Chariot /
Nobody Knows the Trouble I’ve Seen; Battle Hymn of the Republic), or other time periods in
world history such as Greensleeves and Parson’s Farewell from Renaissance England. Some
originated in countries outside of the United States, (e.g., Vive la Compagnie, Du Liegst Mir im
Herzen, Hatikvah) and several are arrangements of Western classical music that make for easy
entry into the study of the original instrumental work. These pieces provide potential
opportunities for rich teaching and learning that can engage students in research, exploration of
musical elements, comparison, discovery, analyzing and describing music, creation of new music
and performance. Presenting choral, operatic, and instrumental versions of the pieces the
students learn how to play while ensuring ample opportunity for students’ own singing, playing,
and performing, can help to expand students’ understanding and enjoyment of the pieces and to
develop a more comprehensive view of the origins of music across styles, time periods, and
cultures, and its meaning and value to humankind. Such lessons engage students in all of the
artistic processes.

xxix
 Know the Layout of Playing the Soprano Recorder
The Text as a Tool for Teaching and Learning in Music
Educators can think of textbooks as frameworks for their own creative planning and teaching.
Understanding the layout of a text, the various uses of the contents, and making use of all of the
resources is like learning to use any tool. Building a house is easier when an individual learns
how to use tools and read blueprints.
Table of Contents
The Table of Contents provides educators with an “at a glance” view of the contents of each
Lesson. For teaching and learning purposes, and review of instruction, the Table of Contents
makes it easy for educators to locate concepts, particular pieces, and fingerings he/she would like
to include in lesson or curriculum planning. Each Lesson contains 6 interrelated and
interconnected sections: Technique and Fingering on new tones or techniques along with
exercises to practice, and exercises to review and practice technical aspects of prior learning;
Music Lesson that introduces new musical concepts, symbols and rules of music reading and
notation; Lesson Pieces that include examples of the content of the lesson and provide students
with an opportunity to immediately apply theory and technique to music making; Creative
Corner – an assignment that serves the dual purpose of embedded assessment and the nurturing
of students’ creative thinking in music. Students are provided an opportunity to apply their
understanding derived from the teaching and learning of that particular lesson in creative ways –
usually in some form of composition; Theory and Terms section that is a review and snapshot
view of the theory and terms introduced in that lesson; Assignment section with suggestions for
ongoing practice of content.
Example:
LESSON  II   7  

TECHNIQUE AND FINGERING 7

• Review of Fingering and Technique from Lesson I (Notes G, A, and B)
MUSIC LESSON 7
• The Music Staff
• Treble Clef
w   Notes G, A, and B on the Staff
• Reading Music on the Staff
w   Repeated Notes, Steps and Skips
w   Notation
• Dotted Half Note
LESSON II PIECES 10
• Stop and Look
• Waltz
• Three Gray Mice
• Looby Loo Revisted
CREATIVE CORNER 12
• On the Staff Provided, Write Your Composition from Lesson I
THEORY AND TERMS 13
• Music Staff
• Step
• Repeated Notes
• Skip
• Treble Clef
• Notation
• Dotted Half Note
ASSIGNMENT 13

xxx
Forward by Bennett Reimer
Bennett Reimer wrote the Foreword for the first edition of Playing the Soprano Recorder for
School, Community and the Private Studio and Playing the Soprano Recorder for School,
Church, Community and the Private Studio. Although this famous and gracious educator who
had such an impact on music education during the second half of the 20th century and into the
21st century passed away in 2013, due to the author’s personal connection (graduate student and
friend) with Bennett Reimer and her respect for his work and dedicated life to the profession, the
author wishes to retain Bennett Reimer’s original Foreword.
Author Introduction
The Author Introduction provides readers with the mindset behind the creation of this resource
for music education, an umbrella view of the purposes of the text for music education and a
glimpse into the philosophical premises on which it is based. Students of education and
educators relatively new to music education will find this section especially useful.
Teaching Tips Section
The Teaching Tips section provides educators with valuable suggestions for teaching and
learning in soprano recorder and uses of this text to that end. Strategies and practices for getting
off to a good start are included in this section.
Playing the Soprano Recorder and National and State Standards for Music Education
This section provides additional suggestions for standards-based curriculum and extended
learning into other areas of the curriculum all under the aims of the current National Standards
for Music Education and the various content areas of music education as found in the curricula of
many state and local school districts. Indeed, each Lesson in the text provides educators and
students ways to experience interconnected learning in responding to, creating, and performing
music. Creative Corner assignments are an example of embedded assessment, a way of assessing
student learning advocated by the National Association for Music Education.
Fingering Chart
For quick reference, a snapshot view of fingerings for all the tones introduced in this text
precedes Section I.
Know the Layout of Playing the Soprano Recorder
Provides educators with an overview of all sections of the text.
Playing the Soprano Recorder for School, Community, and the Private Studio:
Uses in Various Educational Settings
1. Grades: 4-8 in Schools and the Private Studio
This section provides information on uses of Playing the Soprano Recorder in schools and
private study
2. A Text for Preparing Music Educators and Elementary Education Majors to Enter
Their Respective Fields
This section provides information on how and why to use Playing the Soprano Recorder as one
of many texts in teacher education.

xxxi
3. Uses as a Text in Secondary School and Higher Education Introduction to Music,
Aesthetic Experience, and General Music Courses
This section provides information on a comprehensive course model for the older beginner.
Section I
Section I presents seventeen sequentially ordered, interconnected lessons for teaching and
learning in soprano recorder playing, music reading, ensemble playing and beginning
composing. For connected teaching and learning with vocal music studies, lyrics are included for
most arrangements of pieces that were originally songs. Instruction in Lesson I begins with the
very basics of music reading, instruction for playing the instrument, and understanding in the
concepts of Western music practices, and progresses through sequenced levels of difficulty
ending with Lessons that include the studies of rests, triplets, dotted 8th and 16th note rhythms,
and syncopated rhythms. Various Western styles are represented including blues and whole tone
composition that can serve as a catalyst for studies in these styles and tonalities. Pieces include
arrangements of songs and instrumental works that hold potential for studies of music in
historical and cultural contexts.
Supplementary Solos Section
The Supplementary Solos Section provides additional pieces for differentiated and accelerated
learning with some students, and for interest and special occasions for all/other students. Some
pieces are associated with holidays or particular historical events, and some are themes from
larger works. To aid educators in knowing whether or not a student has sufficient playing ability
and musical background to learn a particular piece, after the title of each piece, the level of
difficulty is indicated. For example, “Use with or after Lesson XI.” Thus, the Supplementary Solo
Section is sequenced according to the sequential instruction provided in the Lessons.
More Supplementary Solos
The More Supplementary Solo Section provides still more pieces for differentiated and
accelerated learning with some students, and/or additional interest with others.
Section II
Section II provides a full score of the piano accompaniment with the recorder part for all of the
pieces in the text – seventy-six pieces. The arrangements are included for the purpose of
aesthetic enrichment, development of ensemble playing, and for development of musicianship
skills – including learning to play music with a steady beat. Many times, students can develop a
sense of the musical and emotive import, overall tempo and style of a piece more quickly when
engaged in a community of ensemble players. For students who might not have the experience to
be in an ensemble class at school, the recorder playing with piano accompanist
or practice/performance music provides an ensemble experience in the general music class or
other educational settings. Several arrangements in Section II include additional recorder,
instruments and/or singers’ parts for more complex levels of music learning. Students that
have piano background can be provided with the opportunity to learn the accompaniment for
their class. In private study, Playing the Soprano Recorder text provides many pieces for
private educators, especially private piano educators, to use in helping students to learn
accompanying and collaborative playing skills. For some pieces in the text, after learning the
soprano recorder part, students who play additional instruments in band or orchestra can be
encouraged to bring their instruments to general music class on a designated day for an
even richer class ensemble

xxxii
experience. See the full score for Pomp and Circumstance in Section II. Additional beginning
band and orchestra instrument parts, and Orff parts are available online for some pieces. Besides
the numerous full score options provided in Section II for ensemble playing, see the Addendum
sub-section Additional Resources for a beginning piano with beginning recorder duet of Largo
for use in paired groupings of teaching and learning in both the classroom and the private studio.
It should be noted that Section II begins with its own numbering, that is, it begins with page 1.
Addendum Section
There are several sections included in the Addendum Section: Glossary of Terms; Table of Rests;
Index of all pieces in the text in alphabetical order with page numbers provided for Section I, the
Lesson and page numbers, and for the full scores in Section II with an indication of the level
of skill in correlation to the lessons; two kinds of staff paper for students and educators to
copy; a section on beginning vocal technique – A Few Tips on Vocal Technique; another vocal
section – Tips for Learning to Sing Six of the Vocal Pieces; a section f o r classroom and
general music educators – Lesson Plan, Embedded Assessments, and Additional
Resources; a Practice/Performance link to all of the piano accompaniments; a music
Playlist of all of the practice/performance downloads (last page of text).

xxxiii
 Playing the Soprano Recorder for School, Community, and the
Private Studio - Uses in Various Educational Settings
Educators can think of a textbook as a framework and organizational tool for developing their
own creative plans, design of instruction, assessments, and their own creative teaching and
learning. It takes time to develop sequentially-ordered instruction with supporting materials and
music for studies that address state and national standards and curriculum goals: and educators’
time is at a premium! Individuals who pursue degree programs in education are required to study
the nuts and bolts of curriculum design, lesson planning, methods and strategies for carrying out
instruction, assessment and evaluation. While these are the frameworks of the profession,
textbooks and materials developed for education are tools that hold potential to facilitate an
educator’s effectiveness in classrooms.

Playing the Soprano Recorder in Grades 4-8 and the Private Studio
Comprehensive, sequentially ordered curriculum across grade levels is necessary to ensure
students experience both thorough coverage of subject areas and logical progression of teaching
and learning that builds upon what students know, and what they continue to learn at various
grade levels from year to year. Curriculum design is based on an organization’s or individual’s
formulation of goals and objectives (what is deemed as most valuable to learn and be able to do)
and student learning outcomes (that which students will actually be able to do as a result of
instruction and their experiences in the teaching and learning environment). Most school districts
include soprano recorder teaching and learning at around grade 4. At the elementary level, the
music curriculum is sequentially ordered according to children’s social-emotional development,
cognitive development, and kinesthetic development. For example, to accomplish music reading
goals, children in grades 4K-2 have many experiences with music whereby they learn the sounds
of the music of their culture before having to learn and understand a symbol system that
represents it. Thus, in grades K, 1, 2, and 3, a substantial amount of learning in music is learned
through educator modeling of sounds and musical behaviors. Children are introduced to iconic
forms of the notational symbol system before the next step in music reading: in this case,
learning to read standard Western music notation. Children in third grade will begin to use the
standard form of the notational system beginning with learning how to read basic note values
such as quarter notes, half notes, whole notes and eighth notes and a limited number of notes on
the staff. The fourth-grade curriculum will reflect a sequential expansion on what students
learned in grade 3. Fifth and sixth graders will experience a continual increase in sophistication
of expected levels of learning to read notation. Thus, developmental considerations for one area
of the curriculum – music reading – would likely be reflected in the curriculum design for grades
4K-12 at the district level. The soprano recorder text Playing the Soprano Recorder for School,
Community and the Private Studio is an excellent example of sequentially ordered instruction in
music for grades 3 or 4 through 12. The text is for beginners of all ages beginning at around age
9 through adult. Although in the schools, the level of music reading and playing in the text would
align with most district music curriculum for students in grades 4-8. The Table of Contents,
located in the first pages of the text, provides a snapshot of the sequentially ordered curriculum
inclusive of a listing of musical concepts and new fingerings per lesson. The Table of Contents is
a tool within the wider tool of the textbook – very useful for finding instruction on particular
concepts, songs, fingerings and the review of these – during the planning of lessons and

xxxiv
instruction. For age appropriate teaching and learning in the private studio, private studio
educators can follow the lead of the schools and the information in this text when preparing
teaching and learning that is developmentally suitable per age of student. With one on one
instruction, and small group instruction, private students will likely move more quickly through
the materials.

Playing the Soprano Recorder: A Text for Preparing Music Educators and Elementary
Education Majors to Enter Their Respective Fields
One of the most important aspects of teaching and learning that pre-service educators need to
learn is how to sequence instruction so children and youth are able to consistently grow in their
understandings in any given subject area. Although this multiage text was not originally designed
specifically with teacher preparation in mind, this text has proved useful to that end. During the
first 9 years of publication of the first edition, use of the text in educator preparation courses has
helped hundreds of students pursuing degrees in education to develop understanding for what it
means to sequence instruction in music. When used as a higher education textbook along with
additional resources in elementary education courses, higher education students are able to grow
in their own musicianship skills and understanding in music while at the same time experience
the sequencing of instruction, and develop understandings in how to plan, carry out instruction,
and assess student learning in music. Music education majors in general music and other kinds of
music education methods courses can also learn how to sequence instruction in general music
teaching and learning, what it means to provide young students with an interconnected approach
to teaching and learning in music, what it means to embed assessments into the teaching and
learning process, and can learn ways to nurture children’s and youths’ creative thinking in music,
through a sequenced approach to applied improvisation and composition assignments. When
further attention is drawn to these aspects of the teaching and learning in recorder, and how these
align with the aims of national and state agencies for education, and with national performance
assessments for educator licensing, the experience takes on even greater meaning. The text is a
model of how to sequence instruction and thus can be useful for professors of education in
facilitating understandings in their pre-service education students in how to sequence instruction.
Since the text is a multiage approach to soprano recorder teaching and learning, and easy to
follow, with use of the text, there are numerous opportunities for inexperienced pre-service
educators to grow in their understanding and ability as educators through field teaching
experiences in teaching soprano recorder in the schools and community. Students in methods
classes can plan field teaching together with their professor and experience teaching and learning
practices with children and youths in the following content areas of the music education
curriculum.
• improvising
• music reading
• composing
• ensemble playing
• combined singing and recorder playing
• interdisciplinary and integrated teaching and learning (teaching and learning designed in
off shoot from studies of songs and pieces )
• sequential teaching and learning in music via soprano recorder
• cleaning the recorder

xxxv
Through such field experiences, higher education students can also experience professional
development: what it means to be involved in civic engagement through collaborative music
education ventures between university and schools, and university and community organizations.

Playing the Soprano Recorder in Secondary School and Higher Education Introduction to
Music, Aesthetic Experience or General Music Courses
For adult learners who have never had the opportunity to learn how to read Western music
notation and wish to do so, Playing the Soprano Recorder, in conjunction with other texts or
materials, can provide the adult learner with enjoyable, non-threatening access to music literacy
in Western music styles, experiences in creating music and enjoyable social music making.
Since 2008 to present, Playing the Soprano Recorder is one of two texts higher education
students use for an aesthetic experience/introduction to music education course developed and
offered at a university. Additionally, access to Naxos recordings through the university library
and notation software are the resources for interconnected teaching and learning in 6 applied
content areas of music education, including improvising and composing. The course is
approximately 80% hands on learning in beginning and differentiated levels of teaching and
learning. Via a student-centered, community-of-learners approach to music education, students
engage in a variety of whole group, small group, paired and individual instructional learning
practices (with professor as instructor and facilitator) while learning how to play two social-
music-making instruments, recorder as one, and while learning vocal technique that supports
development of the singing voice and personal expression through singing. An important
learning goal of the course is to help individuals to develop knowledge and skills for engaging in
in social music making – both during the duration of course studies and for lifelong engagement
– and for many of the students in the class, to develop musicianship to a level that supports a
leadership role as an educator in classrooms. The six content areas of applied music study: music
reading and theory; recorder and piano playing; ensemble playing; improvising and composing;
listening/responding to and perceiving music; and singing (vocal instruction). Throughout the
semester, students develop understandings for improvising and composing music through
creative application – the embedding of creative assignments into the lesson content and
instruction that supports the development of student’s creative thinking in music while at the
same time reinforces and deepens students’ understandings of course content, and conceptual
and perceptual understandings in music (Guderian 2008; 2009a; 2009b; 2012; 2014). Students
complete composition assignments that are interconnected and interrelated to the other content
areas – learning in one content area reinforces learning in other content areas of music, and
numerous pieces provide potential learning connections to other arts and subjects. Students’
compositions are shared via a document camera and interactive board and through whole group
playing of the pieces. Emphasis is placed on the diversity of students’ creative endeavors and
celebrated. With use of Playing the Soprano Recorder, instruction is sequentially ordered; the
applied-creative assignments aligned with and as natural outgrowth of lesson content. In addition
to whole group instruction, students are provided with opportunities to work in pairs and small
groups to accomplish playing and composing assignments and, for some assessments, students
are provided the choice of playing or singing a piece alone or with a partner. In this student-
centered, non-music major course, the elements of choice and collaborative learning add to the
non-threatening atmosphere of learning environment, and has been effective in providing
students enjoyment during their gradual development of musical skills and understanding, and
creative thinking in music. Based on student evaluation of the course, and numerous personal

xxxvi
notes from students, it appears that the teaching and learning experience of the course also helps
many students to becoming aware of their own musical and creative potential, and even helps
some individuals to lose their inhibitions and negative self-concepts about their level of musical
ability. Students compose music via Creative Corner assignments throughout the semester.
Under these open-ended assignment frameworks and opportunities for creative application,
students reinforce course content, and, in most cases, the creative application helps to deepen
students’ understanding of the content and foster their creative thinking. The embedded
assessment – the students’ Creative Corner compositions – are a demonstration of their
understanding of lesson and course content, and thus a very useful way of assessing students’
understanding throughout the semester. At times, a creative assignment that reflects several
weeks of learning might also serve the purpose of summative assessment.
Focused, engaged listening to music is another vital part of the course studies and interconnected
and interrelated to the other five areas of applied concentration. Students provide written
responses and descriptions to listening examples that in many cases, were first introduced as a
recorder piece. Examples from a variety of Western styles, and ethnic and world music examples
make up the related listening assignments. Learning goals for the course include designated
levels of achievement in music reading, instrument playing and singing; demonstrated perception
and response to listening to music; written understanding in the basics of music theory;
development of applied creative thinking in music; ability to participate in social music making.
For students pursuing elementary education degrees, the course serves a dual purpose by
preparing individuals with beginning skills and understanding for leading music activities in
elementary classroom teaching and learning. In this first of a 2-sequence course preparation for
learning how to include music in the elementary classroom, students learn how to play two of the
several classroom/social music making instruments they will learn how to play for teaching in
the schools (soprano recorder and piano), and learn to play a number of percussion instruments
for integrated and interdisciplinary models of classroom teaching and learning with music and
the other arts. Higher education students engage in learning vocal technique to support their
ability and level of confidence for leading children and community groups in social music
singing. Prior music study is not required or necessary for this course, however, course studies
are also appropriate for students with musical background who wish to further develop their
music education through learning to play the soprano recorder and/or piano, and, especially to
further develop sight-reading skills, vocal technique, musical understanding through listening
experiences and creative thinking in music with application to sequential teaching and learning
in the elementary classroom, and in special education and in community social music making.
Students in degree programs outside of education enroll in this course that doubles as an
aesthetic experience course for credit.
Throughout the semester, inquiry is used to generate students’ critical and reflective thinking in
philosophical and practical matters surrounding course studies and the meanings and values of
music to humankind. To foster students’ independence and confidence for leading musical
activities in future classrooms and social music making contexts, at times, students engage in self
and peer evaluation, and take turns reviewing and teaching concepts to the class and/or leading
musical activities in whole group music. For further studies in collaborative music making, and
for purposes of assessment, at times, students accompanying each other; i.e., one individual plays
the piano while the other plays the recorder part and then they switch roles.

xxxvii
A “learning community” environment is fostered to facilitate student learning. Students and
professor work together, help each other, make music together and are encouraged to concentrate
on the joy of music making. Under this learning environment and design of instruction that
includes a variety of groupings and student centered practices, students have opportunities to
develop all of the desirable dispositions for 21st century teaching and learning as articulated in
the national standards.
Assessments are provided via rubric and/or a list of criteria with comments and suggestions.
Rubric tabulation is converted to a percentage score.
Although the focus of the course is to develop skills and understanding in traditional and non-
traditional Western Music practices, a variety of music examples and studies from various
genres, styles and cultures support the learning of concepts and applied musical involvement.
This course aims to further students’ development in understanding as to the multiple ways
humans express meaning through sound as a symbol system; to develop creative and musical
conscience and understanding as to the value of music for humans – that musical styles are as
diverse as are the cultures wherein they evolve and equally important across all forms of human
meaning-making with music. Musical examples are provided along with the teaching and
learning practice of inquiry to foster students’ thinking and development of their own philosophy
surrounding the value of music for humans, and appreciation for all styles, ethnic, multicultural
and world “musics” that have meaning to someone.

REFERENCES
Guderian, L. V. (2008). Effects of applied music composition and improvisation assignments on
sight-reading ability, learning in music theory and quality in soprano recorder playing.
Dissertation Abstracts International, 69 (11A). (ProQuest, formerly UMI, No. 3331120)
Guderian, L. V. (2009a). Balance in structure and freedom when applying curriculum goals in
general music education. Illinois Association for Gifted Children Journal, 2009. 68-69
Guderian, L. V. (2009b). Music improvisation and composition: essential strategies for
developing musicianship and engaging the creative minds of children in the music education
classroom. In J. Smutny & S.E. Fremd (Eds), Igniting Creativity in Gifted Learners, K-6 (pp.
270-279). Thousand Oakes, CA: Corwin Press, a Sage Company.
Guderian, L.V. (2012). Music improvisation and composition in the general music curriculum.
General Music Today: Journal of the National Association for Music Education 25 (3) (April
2012) 6-14. Online First; published ahead of print in 2011).
Guderian, L.V. (2014). Creative application: A way to include music improvisation and
composition in comprehensive general music curriculum, In J. Barrett & P. Webster (Eds), The
Musical Experience: Rethinking Music Education (pp. 183-204). Oxford University Press
NAfME, (2014). Core music standards: A guide to orchestrating success for students, schools,
and society. Reston, VA: The National Association for Music Education.

xxxviii
 Fingering Charts
The following diagram will serve in learning the fingerings of notes for recorder playing
throughout the text.

Left  Hand  (LH)   Thumb  #1   Right  Hand  (RH)  

Finger  #2  
4   3   3   4  
5   5  
Finger  #3 2  
2  
LH   Finger  #4

Finger  #2
1   RH   1  
Finger  #3

Finger  #4

Finger  #5  

Understanding The Hole Coverings

- no cover - approximately half covered
- complete cover - left thumb covers a little more than half

Middle  C   Middle  D   Middle  E   Middle  F   Middle  F#   G   A  

LH   LH   LH   LH   LH   LH   LH  

RH   RH   RH   RH   RH   RH   RH  

Bb High  B   High  C   High  D   High  E   High  F   High  G  

LH   LH   LH   LH   LH   LH   LH  

RH   RH   RH   RH   RH   RH   RH  

xxxix
Playing the
Soprano
Recorder

Section 1
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

LESSON I

TECHNIQUE AND FINGERING

Learning How to Hold the Recorder

All recorders, no matter the size, are held

with two hands. The three holes closest to the
face are played with the left hand. The left
hand thumbhole is located underneath the
recorder. The pinky of the left hand is not
used. The right hand fingers cover the holes
on the bottom half of the instrument with the
pinky covering the last hole, to the right of
the other holes. The right hand thumb is
positioned underneath the recorder for
support.

The following diagram will serve in learning the fingerings of notes for recorder playing
throughout the text.

   
  Left  Hand  (LH)     Thumb  #1   Right  Hand  (RH)  
 
  Finger  #2    
4   3     3   4  
5   5  
Finger  #3 2  
2  
LH   Finger  #4

Finger  #2
1   RH   1  
Finger  #3

Finger  #4

Finger  #5  

Understanding the Hole Coverings

-   no cover -   approximately half covered
 
-   complete cover -   left thumb covers a little more than half

1
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON I

Tonguing

Use your tongue to start and stop the notes when playing the recorder. This is called tonguing.
Place the recorder mouthpiece between your lips (about ¼ inch of the mouthpiece). Pressing
your lips together lightly, hold the recorder in place, making sure that the tip of the mouthpiece is
not touching the tongue or teeth. With the recorder held between your lips, softly say the
syllable “tah”. In order to develop the correct technique for tonguing, try the following exercise:
Breathe in and exhale a steady stream of air flow while saying the “tah” syllable several times
without the recorder in your mouth. Repeat the process with the recorder placed between your
lips.

Blowing

Breathing in and blowing gently into the recorder should be as consistent as possible. Try the
following method:

1. Breathe in evenly through the mouth or nose.

2. Blow into the recorder with even and consistent exhaling of the breath. Too much air (over
blowing) or too little air (running out of breath) will affect the pitch of the tone.

3. Breathe in and play the “tah” syllable for several seconds, or beats. Long held tones can be
stopped by making the “d” sound with the tongue.

The First Three Notes

G   A   B  

LH   LH   LH  

RH   RH   RH  

Find G, A, and B on the recorder. Be sure to cover the appropriate holes completely with the
fleshy part of your fingertips. Breathe in and play “tah” for each new note. Stop the tone by
making the “d” sound with the tongue.

2
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON I

MUSIC LESSON

Music Notes

Music notes are symbols for writing, reading and playing music. The shape of a music note is a
flattened circle called a “note head.” Most note heads have attached lines called stems. When the
stem is attached to the right side of the note head the direction is up and when attached to the left
side, the direction is down. Some note heads are colored in, and some are not. Music notes have
duration or “value” of time which is measured in beats. The value of the note is how many beats
or partial beats it receives in defined patterns. In many patterns used to notate music, the quarter
note, as pictured below, receives one beat.

THE QUARTER NOTE ———— q ———— RECEIVES ONE BEAT

Clap the following quarter note exercise. Each note receives one clap of equal duration.

Exercise #1

œ œ œ œ œ œ œ œ
1 1 1 1 1 1 1 1

Find the fingering for G on the recorder. Now play Exercise #1 using the fingering for G. Play
the exercise again using the fingering for A, and then again using the fingering for B.

THE HALF NOTE ———— h ———— RECEIVES TWO BEATS

In music where the quarter note receives one beat, the half note receives two beats. Rhythm is
the result of organizing beats and note values in time. Clap and play the rhythm of Exercise #2:
First on G, then A, and finally B. Clap or tongue “tah” once for each note. Hold out the second
beat of the half note. Count aloud while clapping, and silently while playing.

Exercise #2

Count: œ œ ˙ œ œ ˙ œ œ œ œ œ œ ˙
Clap: 1 1 1 - 2 1 1 1 - 2 1 1 1 1 1 1 1 - 2
Recorder: tah tah tah - ah tah tah tah - ah tah tah tah tah tah tah tah - ah

3
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON I

Now try First Piece. Make sure your “finger pads” (the fleshy middle section of the last joint on
the finger) are covering the correct holes on the recorder.

LESSON I PIECES

First Piece
Music by Lois Veenhoven Guderian

œ œ ˙ œ œ ˙ œ œ ˙ ˙ ˙
G G G A A A B B B A A

œ œ ˙ œ œ ˙ œ œ ˙ ˙ ˙
G G G A A A B B A G G

Clap the rhythm of Now The Day Is Over. Play the piece on your recorder.

Now the Day is Over

Words by Sabine Baring-Gould Music by J. Barnaby (1869)
Arr. by Lois Veenhoven Guderian

œ œ œ œ ˙ ˙ œ œ œ œ ˙ œ œ
G G G G G G A A B B A A G
Now the day is o - ver, Night is draw - ing nigh,

œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙
A A B A G G G G A B G G
Sha - dows of the eve - ning Steal a - cross the sky.

4
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON I

Clap the rhythm of Prelude I. Play the piece on your recorder.

Prelude I
Music by Lois Veenhoven Guderian

œ œ œ œ œ œ ˙ œ œ ˙ œ œ ˙
B B G G B A G A A A B A G

œ œ œ œ œ œ ˙ œ œ ˙ œ œ ˙
B B G G B A G A A A G B G

CREATIVE CORNER

1.   Using the notes G, A, and B, compose your own piece.

2.   Use only quarter notes ( q ) and half notes ( h ).

3.   Make your piece as long or short as you would like it to be.

4.   When your piece is finished, practice and play your piece.

5.   Have a friend play your piece.

6.   Give your piece a title.

7.   Write as many pieces as you would like and have fun composing!

Example:

G G G A A A G A G G

œ œ ˙ œ œ ˙ ˙ ˙ ˙ ˙

5
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON I

Composition:

THEORY AND TERMS FROM LESSON I

Quarter Notes ( q ) — receive one beat.

Half Notes ( h ) — receive two beats.

Rhythm — the result of organizing beats and note values in time.

ASSIGNMENT

1. Practice the tonguing and blowing technique in Exercise #1.

2. Practice the half note exercise in Exercise #2.

3. Practice LESSON I PIECES: First Piece, Now the Day Is Over, and Prelude I three times
or more per day.

4. Learn and memorize the THEORY AND TERMS of LESSON I.

5. Complete the CREATIVE CORNER assignment.

6. Keep a record of how many minutes you practice each day.

M TU W TH F SA SU

6
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

LESSON II

TECHNIQUE AND FINGERING

Review the fingerings for G, A, and B, by practicing Exercise #3. In order to tongue clearly, be
sure to say “tah” for each note.

Exercise #3

œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ ˙ ˙ œ œ ˙
G G A A B B A B B A A B A G B G B A G

MUSIC LESSON

The Music Staff

Music notes are placed on a staff. The music staff has five lines and four spaces.

4 5 4
3 2 3
1 2 1

The middle of the note head is placed on a line or space.

w w w w w
w w w w

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON II

Treble Clef (G Clef)

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When the treble clef (G clef) sign is placed at the beginning of the staff, the second line is named
G. (Notice how the treble clef circles around and ends just passing through the second line from
the bottom of the staff). The music notes for soprano recorder are treble clef notes. The music
notation for children and women singers, medium to high pitched instruments, the right hand part
for all keyboard instruments and Orff instrument parts are also notated on a treble clef staff.
You have already learned how to play the second line treble G on your recorder in Lesson I.

G  Line,  G  notes  
& œ œ œ œ
When placed on the second line of the treble
clef staff, these quarter notes become G quarter
notes.

A  Space,  A  notes  
When placed on the second space of the treble & ˙ ˙
clef staff, these half notes become A half notes.

B  Line,  B  notes  
œ œ ˙
When placed on the third line of the treble clef
&
staff, these quarter and half notes become B
quarter and half notes.

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON II

Reading Music on the Staff

Music notes are placed on the staff in three ways:

& œ œ œ œ œ œ œ œ œ œ œ œ

Repeated  Notes     Steps     Skips  

(on  the  same  line)     (line  and  space  notes  that     (notes  that  are  not  steps)  
are  next  to  each  other)  

Play the following piece comprised of many repeated notes: Be sure to tongue each note.

Piece of Repeat!
G B A B G

& œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙

Play the following piece comprised of all steps.

Every Step Counts!

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

Play the following piece comprised mostly of skips.

Skipping with so Few!

& ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙

9
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON II

Dotted Half Note

THE DOTTED HALF NOTE ———— h. ———— RECEIVES THREE BEATS

In music where the quarter note receives one beat, the dotted half note receives three beats. Clap
the following rhythm pattern and then play the pattern using the fingering for G, then A, and then
B.

Exercise #4

1 2 3 1 1 1 1 2 3 1 1 1
˙. œ œ œ ˙. œ œ œ
tah - ah - a tah tah ta tah - ah - a tah tah ta

1 2 1 1 2 1 1 1 1 1 2 3
˙ œ ˙ œ œ œ œ ˙.
tah - ah ta tah - ah ta tah tah ta tah - ah - a

LESSON II PIECES

Stop and Look

Music by Lois Veenhoven Guderian

B A G A A B B A G

& œ œ œ œ œ œ ˙ œ œ œ œ

A B G B G A B G

& œ œ ˙ ˙ ˙ œ œ ˙

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON II

Waltz
Music by Lois Veenhoven Guderian

G A B A A B A A

& œ œ œ œ œ œ œ œ œ ˙. œ œ œ ˙.
G G A B

& œ œ œ ˙. œ œ œ œ œ œ œ œ œ

& ˙. œ œ œ ˙. œ œ œ ˙.

Three Gray Mice

Traditional song
Arr. by Lois Veenhoven Guderian

B A G B

& ˙. ˙. ˙. ˙.
Three gray mice. Three
G

& ˙. ˙. œ œ œ ˙.
gray mice. See how they run,
A B

& œ œ œ ˙. ˙. ˙. ˙.
See how they run, Three gray mice.

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON II

Looby Loo Revisited

Traditional American song
Arr. by Lois Veenhoven Guderian

# Bœ œ G B G

& œ ˙ œ ˙. ˙. œ œ œ ˙ œ
Here we go loo - by loo, loo. Here we go loo - by

A B
#
& ˙. ˙. œ œ œ ˙ œ ˙. ˙.
light, light, Here we go loo - by loo, loo,

#A G

& œ œ œ œ œ œ ˙. ˙. œ œ œ œ œ œ
All on a Sat - ur - day night, night. Here we go loo - by loo,

A
# ˙.
& œ œ œ œ œ œ œ œ œ ˙. œ Œ Œ
loo - by loo, loo, All on a Sat - ur - day night. night!

CREATIVE CORNER

On the staff provided, write your composition from Lesson I. Play your composition when you
have finished writing it down. Ask a friend to play it.

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON II

THEORY AND TERMS FROM LESSON II

Music Staff — has five lines and four spaces. Music notes are written on the staff.

Step — a space note followed by the very next line note, or a line note followed by the very next
space note.

Repeated Notes — notes on the same line or space in succession.

Skip — any distance between two notes that is larger than a step, e.g., a line note to the next line
note.

Treble Clef — also called G Clef. Establishes the second line of the staff as G, used in notating
notes higher in pitch than Middle C.

Notation — (notating, to notate) the writing of music. Notes on the staff indicate pitch. Note
values indicate rhythm.

Dotted Half Note ( h. ) — receives three beats.

ASSIGNMENT

1.   Practice Exercise #3 at least three times each day.

2.   Study and practice all the examples in the section Reading Music on the Staff (on page 9).

3.   Practice clapping the rhythm of Example #4 each day.

4.   Practice LESSON II PIECES: Stop and Look, Waltz, Three Gray Mice and Looby Loo
Revisited three times or more each day.

5.   Complete the CREATIVE CORNER assignment.

6.   Learn and memorize the THEORY AND TERMS of LESSON II.

7.   Teach your favorite piece to a family member or friend.

8.   Keep a record of how many minutes you practice each day.

M TU W TH F SA SU

13
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

LESSON III

TECHNIQUE AND FINGERING

Review the fingering and staff placement for G, A, and B by practicing Exercise #5.

Exercise #5

G G A G B

& œ œ ˙ œ œ ˙ œ œ œ œ ˙ ˙
G G A G

& œ œ ˙ œ œ ˙ œ œ œ œ ˙ ˙

MUSIC LESSON

Time Signature

At the beginning of a piece of music, there are two numbers. These numbers are called the “time
signature” (Examples: 4/4, 3/4, 2/4). The time signature determines the grouping of beats into
measures. Measure bar lines separate the measures.

time  signature  *  
measure  bar  line  
measure  

2 œ œ œ œ
& 4 œ œ ˙
A  double  bar  line  
* 2  –  The  top  number  tells  how  many  beats  per  measure.   is  placed  at  the  
4  –  The  bottom  number  tells  what  kind  of  note  receives  one  beat. end  of  a  piece.  

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON III

Read the following aloud for practice.

2 – There are two beats per measure.

4 – The quarter note receives one beat.

3 – There are three beats per measure.

4 – The quarter note receives one beat.

4 – There are four beats per measure.

4 – The quarter note receives one beat.

Whole Note

THE WHOLE NOTE ———— w ———— RECEIVES FOUR BEATS

In music where the quarter note receives one beat, the whole note receives four beats. Clap on
the first beat of the whole note and hold your hands together while counting out the other three
beats. All four beats must be at the same, steady speed. Clap and count several whole notes. Play
several whole notes.

w
Count: 1 (– 2 – 3 – 4 )

w
Play: Tah__ah__ah__ah__

Clap the rhythm in Exercise #6. Now play Exercise #6 on G, then A, and finally B. Clap or
tongue “tah” one time for each note. Hold out the additional beats of the whole notes. Count
aloud while clapping, and silently while playing.

Exercise #6

Count: q q q q w q q q q w
Clap: 1 1 1 1 1–2–3–4 1 1 1 1 1–2–3–4

Recorder: tah tah tah tah tah_ah_ah_ah_ tah tah tah tah tah_ah_ah_ah_

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON III

LESSON III PIECES

Piece
Music by Lois Veenhoven Guderian
G A
4 œ œ œ œ w
&4 œ œ œ œ w
B A B G

& œ œ œ œ w ˙ ˙ w
Almost a French Folk Song
Music by Lois Veenhoven Guderian

G A B A
4 œ œ ˙ œ œ œ œ ˙ ˙
&4 œ œ ˙

& œ œ ˙ œ œ ˙ œ œ œ œ ˙ ˙
Frère Jacques
Traditional French round
Arr. by Lois Veenhoven Guderian

#4 G G G G G
& 4œ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙
Frè - re Jac - ques, Frè - re Jac - ques, Dor - mez vous? Dor - mez vous?
# G G G
& œ œ œ œ œ œ œ œ
Frè - re Jac - ques Frè - re Jac - ques,
(Son - nez les ma - ti - nes, Son - nez les ma - ti - nes)
#A
& œ œ ˙ œ œ ˙ w
Din, Din, Don! Din, Din, Don!
Option: Before playing the very last note of the piece,
go back to line 2 and play through to the end.

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON III

Hot Air Balloon Waltz

Music by Lois Veenhoven Guderian

B G A B G
3
& 4 ˙. œ œ œ ˙. œ œ œ ˙.

A B G

& œ œ œ ˙. ˙. ˙. œ œ œ

& ˙. œ œ œ ˙. œ œ œ ˙. ˙.

CREATIVE CORNER

Using the staff below, create your own piece (composition). To find ideas for your piece, explore
sound possibilities by making up and playing rhythm and melody patterns on your recorder.

•   Try creating and notating your composition in 2/4, 3/4, or 4/4 time signature.
•   Use any combination of quarter, half, dotted half and whole notes (when possible).
•   Use G, A and B notes or others you might have learned how to play.
•   Make sure each measure has the same number of beats as found in the time signature.
•   Use measure bar lines to separate the measures.
•   Make your piece aproximately four to eight measures long.
•   Draw the double bar at the end of your composition.

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON III

THEORY AND TERMS FROM LESSON III

Tip for Writing Notes Correctly

On the staff, notes placed on the middle line and above have stems that go down, on the left side
of the note head. Notes placed below the middle line have stems that go up, on the right side of
the note head. G and A are up stem notes. B is a down stem note because it is on the middle line.

Time Signature — determines the grouping of beats into measures.

Measure — the music in between two bar lines.

Measure Bar Lines — separate the measures.

Double Bar — is placed at the end of a piece of music.

Whole Note ( w ) — receives four beats.

ASSIGNMENT

1. Practice Exercises #5 and #6 each day.

2. Learn and practice Piece, Almost a French Folk Song, Frère Jacques, and Hot Air Balloon
Waltz three times each day. Did you find any whole notes in these pieces?

3. Learn the new signs and symbols from LESSON III.

4. Complete the CREATIVE CORNER section.

5. Learn the THEORY AND TERMS from LESSON III.

6. Keep a chart of how much time you practice each day.

M TU W TH F SA SU

18
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

LESSON IV

TECHNIQUE AND FINGERING

Two New Notes – C and D

C D

LH   LH  

RH   RH  

Practice Exercise #7 to learn the fingering for C and D.

Exercise #7

C C D D C C D C C D D C C C
2
&4 œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙

MUSIC LESSON

Eighth Note

THE EIGHTH NOTE ———— e ———— RECEIVES ½ OF A BEAT

19
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON IV

Two eighth notes beamed together ( iq ) are equal to one quarter note. Therefore, in music
where the quarter note receives one beat, two eighth notes are equal to one beat.

Eighth notes are faster than quarter notes. In order to play eighth notes on the recorder, tongue
quickly by saying “teh.” You will feel your tongue moving quickly to play the shorter value
eighth notes. Practice Exercise #8 on each of the five notes you have learned. First, clap and
count the exercise.

Exercise #8

Clap: œ œ œœ œ œ œœ œœ ˙ œœ œœ œ œ œœœœ ˙
Count: 1 & 1 & 1 1 1 & 1 & 1 - 2 1 & 1 & 1 1 1 & 1 & 1 - 2

Recorder: teh teh teh teh tah tah teh teh teh teh tah ah teh teh teh teh tah tah teh teh teh teh tah ah

LESSON IV PIECES

Little Bird
Music by Lois Veenhoven Guderian

4
&4 œ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙ œœœœ˙

& œœœœœœœœ œ œ ˙ œœœœœ œœ ˙ ˙

& œœœœœœœœ œ œ ˙ œ œ ˙ œœœœ˙

& œœœœœœœœ œ œ ˙ œœœœœ œœ ˙ ˙

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON IV

Chester
Music and words by W. Billings
Arr. by Lois Veenhoven Guderian
C C
4 œ œ ˙
&4 ˙ ˙ œ œ œ œ w ˙ œ œ
Let ty - rants shake their i ron rod, And Slav’ - ry

& œ œ œ œ ˙ ˙ w ˙ œ œ ˙ œ œ
clank her gall - ing chains. We fear them not we

& œœœœ œ œ w œ œ œ œ ˙ œ œ ˙ ˙ w
trust in God. New Eng - land’s God for - ev - er reigns.

From Brahms’ First

Adapted from J. Brahms’ Symphony no. 1 in C Minor
By Lois Veenhoven Guderian
C B C A G C D C D G
4 œ œ œ œ œ ˙.
&4 ˙ œ œ ˙ œ œ œ
C
& ˙ œ œ ˙ œ œ œ œ œ œ œ w

Twenty-First-Century Minuet

Music by Lois Veenhoven Guderian

C G C A C G C D C
3
& 4 œ œ œ œ œ œ œ œ œ œ ˙. œ œ œ œœœ œ
D C B D
& œ œ œ ˙ œ œ œœœœ œ œ œ œ œœœœ

& ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙.

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON IV

CREATIVE CORNER

Rhythm Sounds Composition

Compose a “rhythm sounds composition” using eighth notes and any of the other notes you have
learned. Any object or “sound” can become an instrument. Use traditional and/or homemade
rhythm instruments in your composition. Assign parts to your classmates. Practice and perform
your piece in class. Example:

Pencil tap Maraca shake Drum Maraca shake Drum

4
4 œœœœœ œœ ˙ œœœœœ œ œœœœœ œ œ œœœ œ œ œ œ œ

Write your composition here:

Homemade Instruments

Homemade Maracas

Take plastic eggs (the kind available before Easter) and fill with dried peas, beans or rice.
Decorate with permanent colored markers, paints, or colored paper if desired.

Homemade Drum

Take empty oatmeal cartons or metal coffee cans and cover with colored paper. Use the lid as a
drumhead, or stretch a piece of vinyl tightly over one end of the container, securing it with a
rubber band. Play the drum by tapping the drumhead lightly with the fingers. Decorate the
outside of the drum if desired.

Homemade Rhythm Sticks

Use unsharpened pencils (either end makes a good sound), chopsticks or plastic spoons.

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON IV

THEORY AND TERMS FROM LESSON IV

Eighth Note ( e) — receives ½ beat.

Two Eighth Notes ( ee) or ( iq ) — receive 1 beat.

ASSIGNMENT

1.   Practice Exercise #7 with new notes C and D.

2.   Practice Exercise #8 with eighth notes.

3.   Practice the new pieces of LESSON IV: Little Bird, Chester, From Brahms’ First and
Twenty-First-Century Minuet.

4.   Complete the CREATIVE CORNER section by composing a “rhythm sounds

composition.”

5.   Learn the THEORY AND TERMS from LESSON IV.

6.   Keep a chart of your practice time.

M TU W TH F SA SU

23
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

LESSON V

TECHNIQUE AND FINGERING

Review the fingering for notes C and D by practicing Exercise #9.

Exercise #9

G A B C D C D
4
&4 œ œ œ œ œ œ œ œ œ œ œ œ w

G A B C D C B A G

& œ œ œ œ œ œ œ œ œ œ œ œ w

MUSIC LESSON

Dynamics: Louds and Softs of Music

Composers show how loud or soft a section of music should be by writing signs and symbols in
the music. Performers and music makers add expression to their music by adding louds and softs.

p is the sign for playing music softly. It is an abbreviation for the word piano in Italian. Piano
means soft.

f is the sign for playing music loudly. It is an abbreviation for the word forte in Italian. Forte
means loud.

Play Exercise #10 being careful to observe the dynamic markings.

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON V

Exercise #10

G B D G B D C B A B C D
3
&4 œ œ œ œ œ œ œ œ œ œ œ œ
f
G C
œ œ œ œ œ œ œ
& œ œ ˙.
p

Memorize the following dynamics chart.

Dynamics Chart (always use small cursive letters to show dynamics.)

Markings for “softs” in music Markings for “louds” in music

p = piano = soft f = forte = loud

mp = mezzo piano = moderately soft mf = mezzo forte = moderately loud

pp = pianissimo = very soft ff = fortissimo = very loud

LESSON V PIECES

Song Without Words

Music by Lois Veenhoven Guderian

#4 ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ
& 4 ˙ ˙
mp p mp
# ˙ œ œ
& œ œ ˙ ˙ œ œ w œ œ ˙
mf
#˙ œ œ w œ œ œ œ ˙
& ˙ ˙ œ œ w
mp

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON V

Prelude II

Music by Lois Veenhoven Guderian

4
&4 œ œ œ œ ˙ ˙ œ œ œ œ w
f

& œ œ œ œ ˙ ˙ œ œ œ œ w
p

& ˙ ˙ ˙ ˙ œ œ œ œ w
mf mp mf

& ˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙
f p mf

Aura Lee
Words by G. R. Poulton Music by W.W. Fosdick, ca. 1830
Arr. by Lois Veenhoven Guderian

4 œ œ ˙
&4 œ œ œ œ œ œ œ œ w
p
As the black - bird in the spring, ’neath the wil - low tree,

& œ œ œ œ œ œ ˙ œ œ œ œ w
pp
Sat and piped, I heard him sing; sing of Au - ra Lee.

& œ œ ˙ œ œ ˙ œ œ œ œ w
mf
Au - ra Lee, Au - ra Lee, maid with gold - en hair.

& œ œ œ œ œ œ œ œ œ œ œ œ w
mp
Sun - shine came a - long with thee, and swal - lows in the air.

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON V

CREATIVE CORNER

Add dynamic markings to one or more of the compositions you have composed.

THEORY AND TERMS FROM LESSON V

Dynamics

p = piano

mp = mezzo piano

pp = pianissimo

f = forte

mf = mezzo forte

ff = fortissimo

ASSIGNMENT

1.   Practice Exercise #9.

2.   Practice Exercise #10 with the p and f dynamic markings.

3.   Practice LESSON V PIECES with dynamics: Song Without Words, Prelude II, and Aura
Lee.

4.   Complete the CREATIVE CORNER section.

5.   Memorize the Dynamics Chart.

6.   Keep a chart of your practice time.

M TU W TH F SA SU

27
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

LESSON VI

TECHNIQUE AND FINGERING

Four New Notes – Middle C, Middle D, Middle E and Middle F

Middle  C   Middle  D   Middle  E   Middle  F  

LH   LH   LH   LH  

RH   RH   RH   RH  

      Small  hands  may  eliminate  

finger  #5  of  RH  

Practice Exercise #11 to learn the fingerings for middle C, D, E and F. Play it f forte (loud) the
first time and p piano (soft) the second time.

Exercise #11

C D E F E D C D
4
&4 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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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON VI

MUSIC LESSON

C Major Scale

The C major scale is made up of eight steps. In reading Western music notation from left to right,
if the first note of the scale begins on a line, the second note is placed on the very next space.
Likewise, when the scale begins on a space, the second note is placed on a line thus creating an
“interval” (the distance between two notes) called a “second.” This rule applies in both
ascending (going up) and descending (going down) directions. Notes written in ascending
direction sound higher and higher. Notes written in descending direction sound lower and lower.
Example #2 below shows the ascending scale steps in measures 1 & 2; descending scale steps in
measures 3 & 4. Seconds (steps) are just one kind of interval.

Example #1: Steps or 2nds

4
&4 ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙
step / 2nd step / 2nd step / 2nd step / 2nd

Example #2: The C Major Scale

C D E F G A B C C B A G F E D C
4
&4 œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
loo loo loo loo loo loo loo loo loo loo loo loo loo loo loo loo
do re mi fa sol la ti do do ti la sol fa mi re do
1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1

The scale can be sung on letters, solfège syllables (a traditional system of syllables often used in
learning to sing the eight-step major scale: do, re, mi, fa, sol, la, ti, do), numbers, or a syllable of
your choice such as “loo,” “la,” “mi,” and so forth.

Sing the scale in each of the above ways using letters, solfège syllables, numbers, and a syllable
of your choice.

Play the C major scale on your recorder using the new notes C, D, E, and F for the first half of
the scale and the notes G, A, B, and C for the second half of the scale.

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON VI

Practice Exercise #12, Come Back Home, using the new notes you have learned.

The end of a piece usually has a double bar. When the double bar is preceded by two dots it is
called a “repeat sign.” When a repeat sign is at the end of a piece, go back to the beginning and
play it again.

Come Back Home has many skips. Skips are played by “skipping” steps. Study the differences in
notation for steps, skips, and repeated notes.

Exercise #12

Come Back Home

repeat sign
4
&4 ..
œ œ skipœ œ œ œ œ œ œ œ œ œ œ œ ˙
step
repeated notes

LESSON VI PIECES

Burleske
Music by Leopold Mozart
Arr. by Lois Veenhoven Guderian

2 œ œ
&4 œ œ ˙ œ œ œ œ œ œ
œ œ
f

& œ œ œ œ ˙ œ œ œ œ
˙ œ œ
p

& œ œ ˙ œ œ œ œ œ œ ˙ ˙
f

& œ œ œ œ œ œ ˙ œ œ
p
˙ œ œ
f
(repeat the entire piece)
& œ œ ˙ œ œ ..
œ œ œ œ ˙

30
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON VI

White Coral Bells

Traditional round
Arr. by Lois Veenhoven Guderian

4
&4 ˙ œ œ ˙. œ œ œ œ œ w
mp
White cor - al bells up - on a slen - der stalk,

& œ œ œ œ ˙ ˙ w
œ œ œ œ
mf
Lil - lies of the val - ley deck my gar - den walk.

& ˙ œ œ ˙. œ œ œ œ œ w
p
Oh don’t you wish that you could hear them ring?

& œ œ œ ˙ ˙ w
œ œ œ œ œ
mf
That will hap - pen on - ly when the fair - ies sing!

CREATIVE CORNER

Practice Twinkle, Twinkle Little Star. Then play the variation of Twinkle, Twinkle Little Star.
Try creating your own variation of Twinkle, Twinkle Little Star by changing some of the notes,
rhythm, and/or dynamics. A staff is provided for your variation.

Twinkle, Twinkle Little Star

Traditional French tune

2 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 ˙

31
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON VI

Twinkle, Twinkle Little Star

Variation I

2
&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
mf

& œ œ œ œ ˙ œ œ 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
mf

& œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙

Twinkle, Twinkle Little Star

Variation II

2
&4

&

&

&

&

&

32
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON VI

THEORY AND TERMS FROM LESSON VI

Step — an interval of a second.

Interval — the distance between two tones.

Skip — an interval larger than a second.

C Major Scale — comprised of eight steps in ascending or descending order, or seconds.

Repeat Sign — directs you to go back to the beginning and play again (when placed at the end
of a piece).

Syllable — a vowel, preceded by a consonant, used to exercise the singing voice.

Solfège — a traditional system of syllables used in learning to read music. The solfège syllables
are often used in learning to sing the eight-step major scale (do, re, mi, fa, sol, la, ti, do).

ASSIGNMENT

1.   Sing the C major scale on letters, numbers, and solfège syllables.

2.   Practice playing the C major scale, ascending and descending, on the recorder.

3.   Create your own variation of Twinkle, Twinkle Little Star.

4.   Practice the pieces Come Back Home; Burleske; White Coral Bells; Twinkle, Twinkle
Little Star; and your own variation of Twinkle, Twinkle Little Star.

5.   Learn the THEORY AND TERMS from LESSON VI.

6.   Keep a chart of your practice time.

M TU W TH F SA SU

33
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

LESSON VII

TECHNIQUE AND FINGERING

Practice playing the C major scale, ascending and descending. Be sure to tongue each note.

MUSIC LESSON

The Pickup

A pickup note or notes (also called “upbeat”) precede the first full measure of music.

Example:

(pickup note)
3
&4 œ œ ˙ œ
œ ˙ ˙ œ ˙
A - ma - zing grace how sweet the sound.

A pickup note or notes (the upbeat) do not receive an accent. The pickup is played softer than
the first beat of the first measure (the downbeat). The last measure in the example above has two
beats. The third beat of the measure is the pickup at the beginning of the piece.

Clap and count Exercise #13.

Exercise #13

3
&4 ˙ œ ˙ œ ˙ ˙
œ œ
3 1 2 3 1 2 3 1 2 3 1 2
tah tah tah tah tah tah tah tah

34
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON VII

LESSON VII PIECES

Peaceful Evening

Music by Lois Veenhoven Guderian

3 œ ˙ œ ˙. ˙.
&4 œ ˙ œ ˙
mp

& ˙ œ ˙. ˙ œ ˙ œ ˙
œ

& ˙ œ ˙. ˙. ˙ œ ˙. ˙

Amazing Grace
Words by John Newton Early American tune
Arr. by Lois Veenhoven Guderian

3 œœ ˙ œœ
&4 œ ˙ œ ˙ œ ˙ œ ˙
A - maz - ing grace, how sweet the sound, That saved a

œ ˙ j j
& ˙ œ ˙ œ œ. œ œ œ ˙
œ œ. œ œ
œ
wretch like me; I once was lost but now I’m

& ˙ ˙ œ œ ˙ œ ˙. ˙. ˙
œ
found, Was blind, but now I see.

35
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON VII

CREATIVE CORNER

Create your own composition in ¾ time using the notes and note values you have learned. Begin
your piece with a pickup note. Eight measures have been provided for your piece. Add or
subtract measures according to your creative needs.

3
&4

&

THEORY AND TERMS FROM LESSON VII

Pickup Note or Notes (Upbeat) — precede the first full measure of music

Downbeat — the first beat of the measure

ASSIGNMENT

1.   Clap the rhythm of Exercise #13.

2.   Practice playing the pickup example of Exercise #13.

3.   Practice the new pieces of LESSON VII: Peaceful Evening and Amazing Grace.

4.   Complete the CREATIVE CORNER section of LESSON VII.

5.   Learn the THEORY AND TERMS from LESSON VII.

6.   Keep a chart of your practice time.

M TU W TH F SA SU

36
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

LESSON VIII

TECHNIQUE AND FINGERING

Reviewing What You Have Learned

Review all of the fingerings you have learned by practicing Exercise #14, the C major scale plus
one note. Practice the exercise three times playing it piano the first time, mezzo forte the second
time, and forte the third time.

Exercise #14

4
&4 œ œ œ œ œ œ œ œ
œ œ œ œ
œ œ œ œ w

Practice playing the skips and steps in Exercise #15, tonguing each note. Remember, correct
tonguing can be achieved by saying the “tah” syllable while the recorder is held between the lips.
Long held notes can be stopped by making the “d” sound with the tongue.

Exercise #15

4
&4 œ œ œ œ
œ œ œ œ w

37
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON VIII

MUSIC LESSON

Dotted Quarter Note

Many pieces contain a dotted quarter note. A dot to the side of a note, where the stem and note
head meet, gives an additional one half the time value of the note. In 2/4, 3/4, 5/4, 6/4 and 4/4
time, a quarter note is one beat. A dotted quarter note is one and one half beats.

THE DOTTED QUARTER NOTE ———— q. ———— RECEIVES 1½ BEATS

Clap and count the dotted quarter note, the eighth note, and the steady quarter notes in Exercise
#16.

Exercise #16

4
& 4 œ. j
œ œ œ œ œ œ œ
1&2 & 1& 1& 1& 1& 1& 1&

Clap and count the rhythm pattern in Exercise #17.

Exercise #17

4
& 4 œ. j j
œ œ œ œ. œ ˙
1&2 & 1& 1& 1&2 & 1&2&

38
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON VIII

The Dotted Quarter Note in Famous Songs

Step 1. Say the words of the following famous tune excerpts as you clap the rhythm.

Step 2. Count out loud as you clap the rhythm of each famous tune excerpt.

Step 3. Play the famous tune excerpts on your recorder.

Deck the Hall

4 œ . œ œ œ œ œ œ
&4 J œ
Deck the hall with boughs of hol - ly,

Largo j
4
& 4 œ. œ ˙ œ. œ ˙
J
Go - ing home, Go - ing home.

Hark! The Herald Angels Sing

4 j
&4
œ œ œ. œ œ œ œ œ
Hark! the her - ald an - gels sing.

The Muffin Man

4 j
&4 œ œ œ. œ œ œ œ. œj œ œ œ. œj œ
œ œ œ
Oh, do you know the muf - fin man, the muf - fin man, the muf - fin man?

39
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON VIII

LESSON VIII PIECES

Deck the Hall

Traditional lyrics Old Welsh tune
Arr. by Lois Veenhoven Guderian

# 4 œ. œ j
& 4 J œ œ œ œ œ œ œ œ œ œ œ. œ œ œ ˙
f
Deck the hall with boughs of hol - ly, Fa la la la la, la la la la.

# œ. œ œ j
& J œ œ œ œ œ œ œ œ œ œ. œ œ œ ˙
’Tis the sea - son to be jol - ly, Fa la la la la, la la la la.

# œ. œJ œ œ
& œ. œJ œ œ œœœ œœœ œ œ ˙
mp
mf
Don we now our best ap - par - rel, Fa la la la la la, la la la.

# œ. œ œ œ œ œ œ œ. œj œ œ ˙
& J œ œ œ œ œ
f
Troll the an - cient Yule - tide car - ol, Fa la la la la, la la la la.

40
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON VIII

Largo

Music by A. Dvorak (from the New World Symphony)

Arr. by Lois Veenhoven Guderian
# 4 œ. j
& 4 œ ˙
J œ. œ ˙ œ. œ œ. œ w
J J
p
# œ. œ ˙
& J œ. œj ˙ œ œ œ. œj w œ. œJ ˙
mf

#
& œ œ ˙ œ œ œ œ w œ. œ ˙
J
# œ ˙
& œ œ ˙ œ œ œ œ w œ. J
p
# œ. j œ œ. œ w œ. œ ˙
& œ ˙ œ. J
J J
cresc.
# . œ˙ œ. œ œ œ œ. œ œ œ
& œ J J w J w
mf p

CREATIVE CORNER

Compose a four measure rhythm composition containing the dotted quarter note and eighth note
rhythm pattern. Use one of the following meters: 2/4, 3/4, or 4/4.

Example:

3
& 4 œ.
j j
œ œ œ œ œ œ. œ œ ˙ œ

41
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON VIII

Make copies of your composition and teach it to a friend, family member, your teacher, or your
class.

&

THEORY AND TERMS FROM LESSON VIII

Dotted Quarter Note ( q. ) — receives 1½ beats in time signatures where the quarter note
receives one beat. (When the notated time signature has a “4” on the bottom.)

ASSIGNMENT

1.   Practice the famous tune excerpts. Say the words aloud as you clap the rhythm of each one.
Follow this by counting aloud as you clap the rhythm of each, and finally, play the excerpt on
your recorder.

2.   Practice the PIECES of LESSON VIII: Deck the Hall and Dvorak’s Largo. Learn the
THEORY AND TERMS of LESSON VIII.

3.   Complete the CREATIVE CORNER section of LESSON VIII.

4.   Keep a chart of your practice time.

M TU W TH F SA SU

42
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

LESSON IX

TECHNIQUE AND FINGERING

New Note – F Sharp (F#)

F  Sharp

LH  

RH  

A sharp sign (#) placed to the left of a note on the staff raises the tone one half step. Another
name for a # is an accidental. An accidental either raises or lowers a tone. A “sharped” note has
its own fingering. The most commonly sharped note is F sharp.

Find the fingering for F# on your recorder. Practice Exercise #18a.

Exercise #18a

4
&4 œ œ œ œ œ œ œ œ
#˙ #˙

& œ #œ ˙ œ œ œ #œ w

43
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON IX

Practice Exercise #18b. Can you find the small difference between #18a and #18b? In the
second measure of #18b, only the first F is marked as sharp. The rule in writing music is: If a
note is marked with a sharp sign, repetitions of that note within the same measure will also be
sharped. The second half note in measure #2 of Exercise #18b is still sharped; however, it is not
necessary to mark it with a sharp sign.

Exercise #18b

4
&4 œ œ œ œ œ œ œ œ
#˙ ˙

& œ #œ ˙ œ œ œ #œ w

MUSIC LESSON

Key Signature

When a sharp is placed on the F line of the staff at the beginning of the piece, all Fs in the piece
are sharped. This is referred to as the “key signature.” The key signature also appears at the
beginning of each new line. The key signature of Exercise #18c is one sharp. The word allegro
appears at the beginning of the exercise. Allegro (ah-leh-groh) is the Italian word for fast and
lively. Practice Exercise #18c. Be sure to observe the key signature and be sure to play the
exercise fast and lively.

Exercise #18c

# 4Allegro
& 4œ œ œ œ ˙ ˙ œ œ œ œ

#
& œ œ ˙ œ œ œ œ w

44
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON IX

Another Italian term is da capo al fine. When this term, or abbreviated term D.C. al fine appears
in the music, it is an indication to go back to the beginning, repeating the music until the word
Fine occurs in the music. Da capo al fine literally means: “Go to the head until you reach the
finish.” The piece Reminiscent of an Old Dance contains a D.C. al fine.

LESSON IX PIECES

Shepherds’ Song
Adapted from L. van Beethoven’s Symphony no. 6 in F Major
By Lois Veenhoven Guderian

# 6 ˙. œ ˙. ˙
& 4 ˙ ˙ œ ˙ œ ˙. œ œ œ
œ
mp

# ˙. œ ˙.
& ˙ ˙ œ ˙ ˙.
œ ˙ œ œ ˙

# ˙. œ ˙.
& ˙ ˙ œ ˙ œ ˙. œ œ œ
œ ˙
mf mp

# ˙. œ ˙. œ ˙
& ˙ ˙ œ ˙ ˙.
œ ˙.

# ˙. ˙. ˙.
& ˙. ˙. œ œ œ ˙. ˙.
p pp

# œ ˙. ˙. ˙. ˙. Ó. Ó.
& ˙ ˙.

45
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON IX

Reminiscent of an Old Dance

Music by Lois Veenhoven Guderian

#2
& 4œœœœ œ œ œœœœ œ œ œœœœ œœœœ
mf

Fine
#œœ œ œ
& œœ ˙ œœœ œ œ œœœ œ œ œœœœ
p

#
& œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ
f

D.C. al fine
#
& œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙
p

CREATIVE CORNER

Play the following piece on your recorder. Should this piece have a D.C. al fine? If so, where
should the D.C. al fine be placed in the music? Write the D.C. al fine where you think it should
go. Remember to place a double bar where you write the D.C. al fine and a final bar marking
with the word Fine where you think the piece should end. You may want to add other markings
as well such as repeat signs and dynamics.

# 2Allegro œ œ
& 4œœ œœœ œœœœ ˙ œœœœ œœœ

#
& œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ

46
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON IX

THEORY AND TERMS FROM LESSON IX

Sharp (#) — raises a tone one half step.

Accidental — raises or lowers a tone one half step.

Key Signature — shows the sharps or flats of a piece.

Allegro — Italian for fast and lively.

D.C. al fine — means go back to the beginning until the Fine or finish of the piece.

Double Bar — two bar lines drawn close together to mark the end of a section or piece; usually
thicker when placed at the end of a piece.

ASSIGNMENT

1.   Study and memorize the THEORY AND TERMS from LESSON IX.

2.   Practice the PIECES of LESSON IX: Beethoven’s Shepherds’ Song and Reminiscent of an
Old Dance.

3.   Review and practice Exercises #18a, #18b and #18c.

4.   Complete the CREATIVE CORNER assignment.

5.   Keep a chart of your practice time.

M TU W TH F SA SU

47
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

LESSON X

TECHNIQUE AND FINGERING

New Note – B Flat (Bb)

B  Flat  

LH  

RH  

 
A flat sign (b) placed to the left of a note on the staff lowers the tone one half step. A flatted note
has its own fingering. The most commonly flatted note is B.

Find the fingering for Bb on your recorder. Practice Exercise #19a. The rule in music is if a note
is marked with an accidental, that is, a sharp, flat, or natural sign, repetitions of that note within
the same measure will also be sharp, flat or natural. Remember to keep the flat for both Bs in
measure #3.

Exercise #19a

4
&4 œ œ œ œ œ œ ˙ bœ œ œ œ bœ œ ˙

Practice Exercise #19b. The key signature of Exercise #19b is one flat. Be sure to observe the
key signature by playing all of the Bs flat. Be sure to look for the key signature between the
treble clef sign and the time signature before playing a piece.

48
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON X

Exercise #19b

4
&b 4 œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙

MUSIC LESSON

Terms of Expression and Tempo

Words of expression and tempo are used by composers to indicate how their music should be
played. These words appear above the time signature and staff. The word "tempo" refers to the
speed of the piece. Often, a metronome marking is included indicating a more precise
interpretation of the tempo terms. The metronome normally can be set from 40 to 210 beats per
minute.Words of expression and tempo are written in many languages; however, the Italian
language is used most often. Italian terms of expression and tempo are learned by musicians all
over the world. The following list contains a few of the most commonly used terms.

Tempo terms
Term Pronunciation Meaning
Adagio (ah-dah-zshee-oh) to play or sing a piece in a slow tempo
Allegro (ah-leh-groh) to play or sing a piece fast and lively
Andante (ahn-dahn-tay) to play or sing a piece in a moderate walking tempo
Largo (lahr-goh) to play or sing a piece in a very slow tempo
Moderato (mah-der-ah-toh) to play or sing a piece in a moderate tempo
Presto (pres-toh) to play or sing a piece in a fast tempo

Expression words
Term Pronunciation Meaning
Cantabile (cahn-tah-bee-leh) to play or sing a piece in a flowing, singing manner
Espressivo (es-pres-see-voh) to play or sing a piece expressively
Giocoso (jee-oh-koh-soh) to play or sing a piece in a lively, joking manner
Grazioso (grah-tsee-oh-soh) to play or sing a piece gracefully
Maestoso (mah-eh-stoh-soh) to play or sing a piece in a majestic manner

49
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON X

LESSON X PIECES

Learn the pieces of LESSON X. Be careful to observe the key signature, time signature, and
terms of expression and tempo for each piece.

Brother Come and Dance With Me

Music by E. Humperdinck
Arr. by Lois Veenhoven Guderian
Allegro (q = ca.120-138)
4 œ j
& b 4 œ. J œ œ œ œ ˙ œ. œ œ œ œ œ ˙
mf

&b œ œ ˙ œ œ ˙ œ. œ œ œ
J œ œ ˙

œ œ ˙ œ œ ˙
&b œ œ œ œ
œ œ œ œ

&b œ œ ˙ œ œ ˙ œ. œJ œ œ œ œ ˙ ..

Bird Song at Evening

By Lois Veenhoven Guderian

Grazioso (q = ca.100-108)
3
&b 4
œ œ œ œ œ œ œ œ
œ œ œ œ œ ˙ œ
mp

&b œ œ œ œ œ œ œ œ œ œ œ œ
œ ˙

&b œ œ œ œ œ œ œ œ
œ œ œ
œ œ œ œ
œ

&b œ œ œ œ œ œ œ œ œ
œ œ œ ˙

50
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON X

Canción de Cuna / Lullaby

Anonymous Traditional Basque folk song

Arr. by Lois Veenhoven Guderian
Cantabile (q = ca.52-60)

4
&b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
mp
Duér - me - te Ni ño, Duér - me - te Ni ño, Duér me - te ni - ño a - rru, a - rru.
Slightly faster (optional) (q = ca.60-80)

&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
A la Puer - ta del Ciel - o ven - den za - pa - tos, Pa’ - los an - ge - li - tos que

&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
an - dan des cal - zos. Duér - me - te Ni ño, Duér - me - te Ni ño,

&b œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ
Duér me - te Ni - ño a - rru, a - rru. Duér - me - te Ni ño,

&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
œ
Duér - me - te Ni ño, Duér me - te Ni - ño a - rru, a rru.

&b œ œ œ œ œ œ œ ˙ ˙ w w
Duér - me - te Ni - ño a - rru a - rru.

CREATIVE CORNER

Finish the following short melody by creating an “answer” to the first phrase “question.” Ending
on F or A will keep the example in the key in which it started, the key of F with one flat.

4
&b 4 œ œ œ œ œ œœœ œ

51
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON X

THEORY AND TERMS FROM LESSON X

Flat ( b ) — lowers a tone one half step

Tempo Terms
Term Pronunciation Meaning
Adagio (ah-dah-zshee-oh) to play or sing a piece in a slow tempo
Allegro (ah-leh-groh) to play or sing a piece fast and lively
Andante (ahn-dahn-tay) to play or sing a piece in a moderate walking tempo
Largo (lahr-goh) to play or sing a piece in a very slow tempo
Moderato (mah-der-ah-toh) to play or sing a piece in a moderate tempo
Presto (prehs-toh) to play or sing a piece in a fast tempo

Expression Words
Term Pronunciation Meaning
Cantabile (cahn-tah-bee-lay) to play or sing a piece in a flowing, singing manner
Espressivo (es-pres-see-voh) to play or sing a piece expressively
Giocoso (jee-oh-koh-soh) to play or sing a piece in a lively, joking manner
Grazioso (grah-tsee-oh-soh) to play or sing a piece gracefully
Maestoso (my-stoh-soh) to play or sing a piece in a majestic manner

ASSIGNMENT

1.   Practice Exercises #19a and #19b.

2.   Practice the PIECES of LESSON X: Brother Come and Dance with Me, Birdsong at
Evening, and Canción de Cuna.

3.   Learn the THEORY and TERMS of LESSON X.

4.   Complete the CREATIVE CORNER section.

5.   Keep a chart of your practice time.

M TU W TH F SA SU

52
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

LESSON XI

TECHNIQUE AND FINGERING

To review and reinforce the fingering for F# and Bb, practice Exercises #20 and #21 three times
each.

Exercise #20

Allegro
#4
& 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 œ œ œ œ œ œ œ œ ˙ ˙

Exercise #21

4
&b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ

&b œ œ œ œ œ œ œ œ œ œ œ ˙

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 PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XI

MUSIC LESSON

Rests

Many times, pieces of music contain rests. Rests are beats, or parts of beats, that have no sound.
For each note symbol, there is a corresponding rest symbol. Observe the following table of rests.

   

Quarter  Note   Quarter  Note  Rest  

=   œ =   Œ
1  beat  of  sound   1  beat  of  silence  

Half  Note   Half  Note  Rest  

=   ˙ =   Ó
2  beats  of  sound   2  beats  of  silence  

Whole  Note   Whole  Note  Rest  

=   w =   ∑
4  beats  of  sound   4  beats  of  silence  

Dotted  Half  Note   Half  Note  Rest  +    

=   ˙. Quarter  Note  Rest   ÓŒ
3  beats  of  sound   =  
3  beats  of  silence  

Dotted  Quarter  Note   Dotted  Quarter  Note  Rest  

=   œ. =   Œ.
1½  beats  of  sound   1½  beats  of  silence  

Eighth  Note   j Eighth  Note  Rest  

=   =   ‰
½  beat  of  sound   ½  beat  of  silence  
œ

54
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XI

Clap Exercises #22 and #23. Tap the air where there are rests. This will help you to feel the
beats. Count aloud as you clap each exercise.

Exercise #22

1& 1& 1& 1& 1& 1& 1 & 1 & 1& 1& 1& 1& 1&2& 1&2&
2
4œ Œ œ Œ œ Œ œ œ œ œ œ Œ œ œ ˙ ˙
tah tah tah tah tah tah teh teh teh teh tah tah tah tah tah - ah tah - ah

1&2& 1& 1 & 1& 1& 1&2& 1& 1& 1& 1& 1&2& 1 & 1&

˙ œ œ œ œ œ ˙ Œ œ Œ œ Ó œ œ œ
tah - ah tah teh teh tah tah tah - ah tah tah tah tah tah - ah teh teh tah

1& 1& 1& 1& 1& 1& 1&2& 1& 1& 1& 1& 1 & 1 & 1& 1&

œ Œ œ œ Œ œ ˙ œ œ œ œ œ œ œ œ Œ œ
tah tah tah tah tah tah tah - ah tah tah tah tah teh teh teh teh tah tah

Exercise #23

3 Ó1 2 3
Œ
1
œ
1
œ
1
Œ Ó
1 2 1
œ
1
œ
1
œ
1
Œ
4
tah - ah - a tah tah tah tah - ah tah tah tah tah
1 2 1 1 2 1 1 1 1 1 2 3
˙ œ Ó œ œ œ Œ ˙.
tah - ah tah tah - ah tah tah tah tah tah - ah - a

55
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XI

LESSON XI PIECES

Practice the following pieces. For rests, stop the tone by thinking “d.” Be sure to feel a rest for its
full value.

Jacob’s Ladder
Traditional lyrics African American Spiritual
Arr. by Lois Veenhoven Guderian
Allegro (q = ca.120-138)
4 Œ Œ Œ Œ
&4 œ ˙ œ ˙ œ ˙ œ ˙
mf
We are climb - ing Ja - cob’s lad - der,

& œ ˙ Œ Œ œ ˙ Œ œ ˙ Œ
œ ˙
We are climb - ing Jac - cob’s lad - der,

& œ ˙ Œ œ ˙ Œ œ ˙ Œ œ ˙ Œ
We are climb - ing Ja - cob’s lad - der,

& œ Œ œ Œ Œ Ó
˙ ˙ w œ
Broth - ers sis - ters all.

Clap the rhythm of the piece Playing Statues before you practice the piece on your recorder.

Playing Statues

Music by Lois Veenhoven Guderian

Presto (q = ca.138-144)

#4 œ œ
& 4 œœœ Œ œœœœœ Œ œ œ œœœœœ Œ
mf (mp)
œ œ
#œœ œ œ œ Œ œ ..
& œœœ Œ œœœœœ Œ œ œ œ œ

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XI

Before practicing Joshua Fit the Battle, clap and count the following syncopated rhythms of
Exercies #24a and #24b (same rhythm, two different ways of counting). Syncopated rhythms are
lively, snappy rhythms in which the accent of the rhythm does not fall on the usually accented
first beat of the measure. Count aloud for precision. Remember to “tap the air” for the rests.

Exercise #24a

4 1 & 2 & 3 & 4& 1

j
&2 &
j Ó
3& 4&
4œ œ œ œ œ œ œ œ œ œ
teh teh teh teh teh teh tah teh tah teh tah - ah

1 &2 & 3& 4& 1 &2 & 3& 4&

j j Ó j j Ó
œ œ œ œ œ œ
teh tah teh tah - ah teh tah teh tah - ah

Exercise #24b

4 j j Ó
4œ œ œ œ œ œ œ œ œ œ
short short short short short short long short long short rest rest

j j Ó j j Ó
œ œ œ œ œ œ
short long short rest rest short long short rest rest

57
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XI

Joshua Fit the Battle

Traditional lyrics
Allegro (q = ca.120-138)
4 j j j j
&b 4 ∑ ∑
œ œœœœœœ œœ œ Ó œœ œ Ó
mf
Josh -ua fit the bat- tle of Jer - i - cho, Jer - i - cho,
j jÓ j j
& b œ œ œ œ œ œ Œ
œ œ œ œ œ œ œ œ œ
Jer - i - cho. Josh - ua fit the bat - tle of Jer - i - cho, and the
j jÓ
&b œ œ œ œ œ œ ˙
Ó
œ œœœ œ œœ œœ œ
mp
walls came a tumb - a - lin’ down. Josh - ua fit the bat - tle of Jer - i - cho,
j j j j j jŒ
&b œ œ œ Ó œœ œÓ œ œœœ œ œœ œ œ œ œ œ
Jer - i - cho, Jer - i - cho, Josh - ua fit the bat - tle of Jer - i - cho, and the

&b œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ
˙ f
walls came a tum - ba - lin’ down. You may talk a - bout your king of

&b œ œ œ Œ œ œ œ œ œ œ œ œ œ œ ˙ Œ œ œ
Gid - e - on, You may talk a - bout your men of Saul, But there’s

&b œ œ œ œ œ œœ Œ œ œ œ œœ œ œ ˙. œ
none like good old Josh - u - a, and the bat - tle of Jer - i - cho. Oh
j jÓ j jÓ
&b œ œ œ œ œ œ œ
œ œ œ œ œ œ
mf
Josh - ua fit the bat - tle of Jer - i - cho, Jer - i - cho,
j jÓ j j
& b œ œ œ œ œ œ Œ œ œ
œ œ œ œ œ œ œ
Jer - i - cho. Josh - ua fit the bat - tle of Jer - i - cho, and the

&b œ Œ œ Œ œ Œ œ Œ w œ Œ Ó
walls came tum - blin’ down. Down!

58
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XI

CREATIVE CORNER

Create your own rhythm composition.

1.   Make your composition 4 to 8 measures long.

2.   Use 2/4, 3/4, or 4/4 time signature.

3.   Be sure to include rests.

4.   Compose your piece for one or more instruments.

5.   Use traditional or homemade rhythm instruments.

6.   Teach your piece to a friend or to your class.

A rhythm composition does not need to be written on staff paper, but may be. Use the staff paper
below or create your own system of notating your work.

THEORY AND TERMS FROM LESSON XI

Syncopation — displaces the accent from the usually accented beat. Syncopated rhythms are
found in several styles of music and are characteristic of jazz, rock, African American spirituals
and South American styles of music.

59
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XI

Table of Rests in Time Signatures Where the Quarter Note is Equal to One Beat
   

Quarter  Note   Quarter  Note  Rest  

=   œ =   Œ
1  beat  of  sound   1  beat  of  silence  

Half  Note   Half  Note  Rest  

=   ˙ =   Ó
2  beats  of  sound   2  beats  of  silence  

Whole  Note   Whole  Note  Rest  

=   w =   ∑
4  beats  of  sound   4  beats  of  silence  

Dotted  Half  Note   Half  Note  Rest  +  

=   ˙. Quarter  Note  Rest   Ó Œ
3  beats  of  sound   =  
3  beats  of  silence  

Dotted  Quarter  Note   Dotted  Quarter  Note  Rest  

=   œ. =   Œ.
1½  beats  of  sound   1½  beats  of  silence  

Eighth  Note   j Eighth  Note  Rest  

=   =   ‰
½  beat  of  sound   ½  beat  of  silence  
œ

   

ASSIGNMENT

1.   Practice playing Exercises #20 and #21.

2.   Practice clapping and counting exercises #22, #23, #24a and # 24b.
3.   Practice the new pieces of LESSON XI: Jacob’s Ladder, Playing Statues, and Joshua Fit
the Battle
4.   Complete the CREATIVE CORNER section.
5.   Memorize the Table of Rests.
6.   Keep a chart of your practice time.

M TU W TH F SA SU

60
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

LESSON XII

TECHNIQUE AND FINGERING

Three New Notes – High E, High F, and High G

The high E, F, and G notes are played by covering only part of the thumb hole of the left hand
(about half). The complete fingerings for high E, F and G are shown below. Notice how similar
the fingerings are to the lower E, F and G.

High  E   High  F   High  G  

LH   LH   LH  

RH   RH   RH  

     

High E, F, and G are notated on the staff in the following way:

E œF œ œ œ
4 œ œ œ œ ˙ ˙
&4
G
œ œ œ œ ˙ ˙
˙ ˙
&

Practice playing several high E, F, and G notes. Then, practice Exercise #25 several times to
learn to play the notes easily.

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XII

Exercise #25

4 œ œ œ œ œ œ œ œ ˙
˙
w
&4

œ œ œ œ œ œ œ œ ˙ ˙ œ œ œ ˙
&

MUSIC LESSON

The Tie

Sometimes, notes of the same pitch are “tied” together to create a longer note value. The tone is
held for the sum of the note values tied together. Often, ties occur over a bar line. Study the
example below. Play and hold the G counting silently for six beats.

Example:

4
&4 w ˙ œ œ
1 2 3 4 5 6 1 1
The curved line connecting the whole note and half note G’s is the “tie.”

Exercise #26 contains a tie from measure #1 to #2, and a fermata in measure #3. In most music, a
fermata (fair-mah-tah) sign placed over a note indicates a holding of the note longer than the
normal duration. In chorales – hymn tunes from the Baroque time (1600-1750) – a fermata was
used to show the end of a line. The piece Wake, Awake, for Night is Flying is an example of this
practice from the seventeenth and eighteenth centuries.

Play and count Exercise #26. Hold the quarter note that has a fermata a little longer than one
beat.

62
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XII

Exercise #26

U
4
&4 œ œ œ œ œ œ œ œ œ œ œ œ w
1 1 1 1 2 1 1 1 1 1 (hold) 1 1 2 3 4

LESSON XII PIECES

Higher and Higher Waltz

Music by Lois Veenhoven Guderian

Grazioso (q = ca.120-138)
3 ˙. ˙.
&b 4 œ œ œ ˙. œ œ œ œ œ œ
mf

˙. œ œ œ ˙. œ œ œ
&b œ œ œ

˙. œ œ ˙.
& b ˙. œ œ œ œ

The Tie
Music by Lois Veenhoven Guderian

Moderato (q = ca.100-112)
#3 œ œ œ
& 4 œ œ œ œ œ œ œ ˙. ˙ œ
mp
#œ œ œ œ
& ˙. ˙ œ œ œ œ ˙

#œ œ œ œ œ œ
& œ ˙ œ œ œ ˙

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XII

Wake, Awake, for Night Is Flying

Chorale tune by Philipp Nicolai

Arr. by Lois Veenhoven Guderian
Moderato (q = ca.84-96)
4 U
&4 Ó œ œ œ œ œ ˙ œ œ
œ
œ œ ˙ U
& œ œ œ œ œ œ œ œ

U
& œ œ œ œ ˙ œ œ œ œ œ œ

U œ
& ˙ œ œ œ œ œ œ œ ˙

U U
& œ œ œ œ œ Œ œ
œ œ œ ˙
U
& œ œ œ Œ œ œ œ œ
œ ˙ œ
U U œ œ
& œ ˙ œ œ œ œ
˙ œ
U U
& œ œ œ œ œ œ œ œ œ œ ˙

64
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XII

The Ash Grove

Traditional lyrics Welsh melody
Arr. by Lois Veenhoven Guderian
Cantabile (q = ca.80-92)
#3 Œ œ œ œ
& 4 Œ œ œ œ œ œ œ œ œ œ
œ
mp
The ash grove how grace - ful, how plain - ly ’tis
#
& œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
speak - ing. The harp thro’ it play - ing has lan - guage for

#
& ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ
me. When - ev - er the light through its bran - ches is

#
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ
break - ing a host of kind fa - ces is gaz - ing on

# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& ˙
me. The friends of my child - hood a gain are be

#œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ
fore me. Each step wakes a mem’ - ry as free - ly I

# ˙ œ œ œ
& œ œ œ œ œ œ œ œ œ
œ
roam; With soft whis - pers la - den, it’s leaves rus - tle

# œ œ œ œ œ
& œ œ œ œ œ œ œ œ
œ
o’er me The ash grove, the ash grove a - lone is my

#
& ˙ œ ˙. ˙ œ ˙. ˙. ˙.
home, a - lone is my home.

65
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XII

CREATIVE CORNER

Create a few “music math” examples in 4/4 time signature. Have your class or friends figure out
the answers. Be sure to include a few examples of tied notes.

Examples:
Music Math

œ ˙ œ w
1 + 2 = 3 1 + 4 = 5

˙ ˙ w
2 + 6 = 8

Write your examples here or on a separate sheet.

THEORY AND TERMS FROM LESSON XII

Tie — notes of the same pitch connected by a curved line. Tied notes are held for the sum of the
notes tied together.

Fermata — indicates holding a note longer than the normal duration

Chorale — hymn tune from the seventeenth or eighteenth century

66
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XII

ASSIGNMENT

1.   Practice Exercises #25 and #26 three times each day.

2.   Practice the PIECES of LESSON XII: Higher and Higher Waltz, The Tie, Wake, Awake
for Night is Flying and The Ash Grove.

3.   Complete the CREATIVE CORNER section.

4.   Learn the THEORY AND TERMS of LESSON XII.

5.   Keep a chart of your practice time.

M TU W TH F SA SU

67
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

LESSON XIII

TECHNIQUE AND FINGERING

Practice Exercise #27 at least three times a day. First, learn the exercise at a slow, steady tempo.
Increase your speed as you gain facility in playing. No matter what tempo you choose, always
work to maintain a steady beat. Facility, or ease in playing, comes from consistent practicing.
Playing a piece three or more times per day is practicing.

Exercise #27

4 œ œ œ œ
&4 œ œ œ œ œ œ œ œ œ œ œ œ w

& œ œ œ œ œ œ œ œ w œ œ œ œ œ œ œ
œ

œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ

& œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ

68
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XIII

MUSIC LESSON

Intervals
An interval is the distance between two tones, or notes. To sing or play from “do” to “re” on the
scale is an interval of a second. All steps are intervals of a second. Skips can be thirds, fourths,
fifths, etc. Exercise #28 shows the intervals of the C major scale. Practice playing and singing
the intervals of Exercise #28 several times. Practicing the intervals will help your eye and
musical ear in learning the sight and sound of them.

Exercise #28

Intervals of the C Major Scale

Do Re Do Mi Do Fa
4
&4 ˙ ˙ ˙ ˙ ˙ ˙
(2nd) (3rd) (4th)

Do So Do La Do Ti Do Do
& ˙ ˙ ˙ ˙ ˙
(5th) ˙ (6th) ˙ (7th) ˙ (octave)

The Natural Sign

A natural sign ( ) placed to the left of a note indicates that the note is neither sharp nor flat. A
natural sign is an accidental. The same rules apply for natural signs as for sharps and flats. Study
and play the following example.

Example: The Natural Sign

4
&4 Œ Œ Œ
œ œ #œ nœ #œ œ œ #œ nœ #œ œ #œ

& œ #œ œ #œ œ œ #œ nœ #œ œ œ

69
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XIII

LESSON XIII PIECES

Andante

Music by F.J. Haydn (from Symphony no. 94, Surprise)

Arr. by Lois Veenhoven Guderian
Vivace (q = ca.100-112)
#4
& 4œœœœœœœ œœœœœœ
œ œœœœœœœ
mf
3rd 3rd 3rd 2nd 3rd 3rd 3rd 4th 3rd 3rd 3rd 2nd

#œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ
2nd 8th(octave) 4th 4th 2nd 2nd 3rd 3rd

#œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2nd 2nd 2nd 2nd 2nd 3rd 3rd 3rd 2nd 2nd 8th(octave) 4th

Allegretto Scherzando

Music by L. van Beethoven (from Symphony no. 8 in F Major)

Allegretto scherzando (q = ca.120-132) Arr. by Lois Veenhoven Guderian
4 œ œ œ nœ œ œ nœ œ œ œ œ
&b 4 œ œ œ œ
mf

&b ˙ Œ œ œ œœœ œ œ œ œ œ Ó œ œ œ œ

& b œ œ œ nœ œ œ nœ œ œ œ œ œ Œ Œ œ œ œ œ œ œ œ œ

&b œ œ Ó œ œ œ œ œ œ œ œ œ Ó œ œ Ó

70
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XIII

All Through the Night

Words by Sir Harold Boulton (1884) Traditional Welsh tune

Arr. by Lois Veenhoven Guderian
Peacefully (q = ca.60-72)
Soprano ° 4 j œ œ nœ. œ œ œ
b
Recorder & 4 œ. œ ˙ œ. œJ w
Part I
p
J
Sleep, my child and peace at - tend thee, All through the night;
While the moon her watch is keep - ing, All through the night;
Hark, a so - lemn bell is ring - ing, Clear through the night;
Soprano 4
Recorder
Part II ¢ & b 4 œ .
j
œ œ œ œ. œj œ œ ˙ .
œ œ
j w
p

° j
& b œ. œ œ œ nœ. œ œ œ ˙ œ. œ w
J J
Guar - dian an - gels God will send thee, All through the night;
While the wear - y world is sleep - ing, All through the night;
You, my love, are heav’n- ward wing - ing, Home through the night.

b j j j
¢& œ . œ œ œ œ. œ œ ˙ œ. œ w
œ
° b
& œ œ œ œ œ œ œ œ œ œ œ œ œ. œj œ œ
mf
Soft the drow - sy hours are creep - ing, Hill and vale in slum - ber sleep - ing,
O’er thy spir - it gen - tly steal - ing, Vi - sions of de - light re - veal - ing,
Earth - ly dust from off thee shak - en, By good an - gels art though tak - en;

¢ & b œ œ œ œ œ œ œ œ œ œ œ œ œ. œj œ œ
mf

° b j
& œ. œ œ œ nœ. œ œ œ ˙ œ. œ w
J J
I my lov - ing vig - il keep - ing, All through the night.
Breathes a pure and ho - ly feel - ing, All through the night.
Soul im - mor - tal shalt thou wak - en, Home through the night.

¢& b œ .
j
œ œ œ œ. œj œ œ ˙ œ.
j
œ w

71
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XIII

CREATIVE CORNER

Make a guessing game for your class or friends. Play an interval on your recorder and have your
class or friends identify the interval that you played.

THEORY AND TERMS FROM LESSON XIII

Interval — the distance between two tones.

Natural Sign ( n ) — indicates that a note is neither sharp nor flat.

ASSIGNMENT

1. Practice Exercises #27and #28.

2. Practice the PIECES of LESSON XIII: Andante from Haydn’s Surprise Symphony no. 94
Mov. 2, Allegretto Scherzando from Beethoven’s Symphony no. 8, and All Through the
Night.

3. Complete the CREATIVE CORNER assignment.

4. Memorize the terms.

5. Keep a chart of your practice time.

M TU W TH F SA SU

72
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

LESSON XIV

TECHNIQUE AND FINGERING

Accidentals

Practice Exercise #29 to review sharps, flats and naturals.

Exercise #29

4
& 4 œ #œ nœ #œ bœ nœ bœ nœ bœ nœ b˙
œ #œ n˙

MUSIC LESSON

6/8 Time Signature

In time signatures having the number “4” on the bottom of the fraction (4/4, 6/4, 2/4, 3/4, 5/4),
the quarter note receives one beat. In 6/8 time signature, the number “8” is on the bottom of the
fraction. In 6/8 time, the eighth note receives one beat. In all time signatures, the number on the
bottom of the fraction indicates the note value that receives the beat.

Read the following aloud:

4 – There are four beats per measure.

4 – The quarter note receives one beat.

2 – There are two beats per measure.

4 – The quarter note receives one beat.

3 – There are three beats per measure.

4 – The quarter note receives one beat.

6 – There are six beats per measure.

8 – The eighth note receives one beat.

73
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XIV

Note Values in 6/8 Time Signature

The eighth note ( e ) receives one beat.

The quarter note ( q ) receives two beats.

The dotted quarter note ( q. ) receives three beats.

The dotted half note ( h. ) receives six beats.

Study and count aloud as you clap Exercise #30.

Exercise #30

6 j j
8œ œ œ œ œ œ œ œ œ œ œ. œ. ˙.
1 2 3 4 5 6 12 3 45 6 12 3 456 1 2 3 4 56

In all time signatures, the first beat of the measure receives a “primary,” or “strong,” accent. In
6/8 time, there is also a “secondary” (less strong) accent on the fourth beat of each measure. This
gives the 6/8 meter a feeling of two big beats (count: ONE two three Four five six) and six small
beats per measure. Count aloud while clapping Exercise #31.

Exercise #31

Primary  Accent   Secondary  Accent  

6 j j
8 œ œ œ œ-.
> >œ œ œ œ-. œ> œ œ- œ >œ œ œ œ-.
1 2 3 456 1 2 3 45 6 12 3 45 6 1 2 3 456

The correct way to count rhythm in 6/8 time is notated underneath the notes in Exercises #30 and
#31. In the same manner, notate (write) the correct counting before learning the new pieces of
Lesson XIV. Next, count aloud while clapping the rhythm of each piece.

74
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XIV

LESSON XIV PIECES

Irish Dance
Music by Lois Veenhoven Guderian
Vivace (q. = ca.80-92)
#6 j
& 8 œ œ œ œ œ œ œ œj œ. œ œ œ œ œ œ œ œ œ.
f
# Fine
œ
& œ œ œ œ œ œ œ œj œ œj œ œ œ œ œ œ œJ œ.
# j œ œ œ œ œ œ.
& œ œj œ œJ œ œ œ œ. œ œ J
# j œ œ œ D.C. al fine
& œ œj œ œ œ œ œ œ œ.
J œ œ œ œ œ.
Vive la Compagnie
Traditional lyrics French folk song
Arr. by Lois Veenhoven Guderian
Vivace (q. = ca.80-96)
#6 j j
& 8 œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ
mf
Let ev - ’ry good fel - low now join in the song, Vi - ve la com - pa -
#
& œ. œ œj œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œj ˙.
gnie! Suc - cess to each oth - er and pass it a - long, Vi - ve la com - pa - gnie!
# œ œ œ œ œ œ œ œ œ œ.
& œ œ œ œ œ œ œ œ œ œ.
Vi - ve la, vi - ve la, vi - ve l’a - mour vi - ve la vi - ve la vi - ve l’a - mour,
# j
& œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ. œ
Vi - ve la vi - ve la vi - ve l’a - mour, Vi - ve la com - pa - gnie!

75
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XIV

A Very Old Tune

Anonymous
Arr. by Lois Veenhoven Guderian
Dolce (e = ca.108-112)
Soprano ° #6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj ˙.
Recorder & 8
Part I J
mf
Soprano # 6 j œ j
Recorder & 8 œ œ œ œ œ œ œ œ œ œ œ œ
Part II ¢ œœ œ ˙.
mf

° #œ œ œ œ œ œ œ œ œ œ œ œ œ j
& J œ œ œ œ. œ œJ
# j œ œ j j
¢ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ

° #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
& œ J J J œ.
# j j
¢& œ œ œ œ œ œ œ œ œ œ œ œJ œ œ œ œ. œ.

° # œ œ œ œ œ œ œ œ œ œ œj ˙.
& œ œ œ œ œJ
# j œ œ j
¢ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.

CREATIVE CORNER

Compose your own melody in 6/8 time. Choose notes from the C major scale. Decide whether or
not you want your melody to be stepwise, skipwise, repeated notes or a combination of all of
these. Before beginning your composition, practice the C major scale exercise (Exercise #32).

76
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XIV

Exercise #32

6
& 8 œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ
œ œ œ œ œ.
1 2 3 4 5 6 1 2 3 456 1 2 3 4 5 6 1 2 3 456

THEORY AND TERMS FROM LESSON XIV

6/8 Time Signature – means there are six beats per measure. The eighth note receives one beat.

Primary Accent – the first beat of the measure receives emphasis.

Secondary Accent – beat receiving emphasis, however, a slighter emphasis than the first beat of
the measure.

Meter – number of beats per measure notated by time signatures. The meter of 4/4 is four beats
per measure. The meter of 6/8 is six beats per measure.

ASSIGNMENT

1.   Study the MUSIC LESSON section. Memorize the list of Note Values in 6/8 Time
Signature.

2.   Practice Exercises #29, #30, #31, and #32.

3.   Write in the counting for all the new pieces.

4.   Clap the rhythm of the new pieces.

5.   Practice the PIECES of LESSON XIV: Irish Dance, Vive la Compagnie, and A Very Old
Tune.

6.   Complete the CREATIVE CORNER assignment.

7.   Keep a chart of your practice time.

M TU W TH F SA SU

77
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

LESSON XV

TECHNIQUE AND FINGERING

Staccato Playing

A dot notated above or below a note head indicates staccato playing. Staccato notes are played in
a short, crisp, and separated manner. In order to achieve the correct technique for staccato
playing, say “taht” for each note as you blow into the recorder. Try the staccato technique as you
practice this familiar holiday melody.

Exercise #33 (Piano accompaniment included for this exercise on pp. 72-73 in Section 2.)

Jolly Old Saint Nicholas

Anonymous
Arr. by Lois Veenhoven Guderian
Vivace (q = ca.96-108)
#2 . . .
& 4œ œ œ œ. œ. œ. œ œ. œ. œ. œ. ˙
mp
Jol - ly old Saint Ni - cho - las, Lean your ear this way!

#
& œ œ œ œ œ. œ œ. œ. ˙
. . . . œ. œ. œ .
Don’t you tell a sin - gle soul What I’m going to say;

# œ. œ. œ. œ. ˙
& œ. œ. œ œ. œ. œ. œ.
Christ - mas Eve will soon be here, Now, you dear old man,

#
& œ œ. œ. œ. œ. œ. œ œ. œ œ. œ. ˙
. .
Whis - per what you’ll bring to me. Tell me if you can.

78
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XV

MUSIC LESSON

Sixteenth Note

THE SIXTEENTH NOTE ———— x ———— RECEIVES ¼ OF A BEAT

In 4/4 time, the quarter note receives one beat. In a moderate tempo, the quarter note is a
“walking” tempo note. The quarter note = one beat. (see Example 1)

Example 1: Quarter Notes

4
4 œ œ œ œ
1 1 1 1
tah tah tah tah

When the quarter note is divided into two parts, eighth notes are created. Eighth notes, often
referred to as “running” tempo notes, are faster than quarter notes. In 4/4 time, two eighth notes =
1 beat (one eighth note = ½ of a beat). (See Example 2.)

Example 2: Eighth Notes

4
4 œ œ œ œ œ œ œ œ
1 & 1 & 1 & 1 &
teh teh teh teh teh teh teh teh

When a quarter note is divided into four equal parts, sixteenth notes are created. Sixteenth
notes are faster than eighth notes. Sixteenth notes are “fast-running” tempo notes. In 4/4 time,
four sixteenth notes = 1 beat (one sixteenth note = ¼ of a beat). When a piece contains eighth
or sixteenth notes, subdivided counting works well to ensure the correct rhythm. There are
several ways to count sixteenth notes. Two ways are notated below in Example 3.

Example 3: Sixteenth Notes

4
4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1 e & ah 1 e & ah 1 e & ah 1 e & ah
Hot - po - ta - to Hot - po - ta - to Hot - po - ta - to Hot - po - ta - to

79
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XV

Clap and count Exercise #34. Learn to play Exercise #34 on the recorder. The sixteenth note rest ( ) also receives ¼
of a beat in 4/4 time and music where the quarter note is equal to one beat.

Exercise #34

2
&4 œ œ œ œ œ œ ≈ œ œ œ œ œ
1 e & ah 2e &ah (1) e & ah 2e &ah
Hot - po - ta - to Hotpo - tato (Hot) po - ta - to Hotpo - tato

œ œ œ œ
& œ œ œ œ œ
1 e & ah 2e &ah 1e &ah 2e&ah
Hot - po - ta - to hotpo - tato Hotpo - tato - hotpotato

œ œ ≈ œ œ œ œ
& œ œ œ œ œ
1 e & ah 2e &ah (1) e & ah 2e &ah
Hot - po - ta - to Hotpo - tato (Hot) po - ta - to Hotpo tato

œ œ œ œ œ
& œ œ œ œ œ
1 e & ah 2e &ah 1 e &ah 2e&ah
Hot - po - ta - to Hotpo - tato hot - po - tato Hotpotato

LESSON XV PIECES

The following lively tune, by the nineteenth century songwriter Stephen Foster, contains several
interesting sixteenth note rhythm patterns. Count aloud while clapping the rhythm of Camptown
Races in Exercise #35. Before sight-reading (to play or sing a piece for the first time) the piece
on the recorder, sing the song from beginning to end. This will aid in learning the correct rhythm
of the piece quickly.

80
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XV

Exercise #35

2 j j j j
&4 Œ ‰ œ œ œ œ œ œ œ œ œ œ. œ œ œ
& 1 & 2 & 1 & 2& 1 &2& 1 &2 &
The Camp - town la - dies sing this song, Doo - dah! Doo - dah! The

& œ œ œ œ œ œ œ œ œ œ ˙
1 & 2 & 1 & 2& 1& 2 & 1&2&
Camp - town race - track five miles long, Oh! doo - dah day!

& œ ˙ œ œ œ œ œ œ.
œ œ œ œ œ œ
1 & ah 2 & 1&2& 1 & ah 2 & 1&2 & ah
They’re gon - na run all night, They’re gon - na run all day. I will

& œ œ œ œ œ œ œ œ œ œ œ œœ œ œ ˙
1 & 2 e & ah 1 & 2& 1 & ah 2 & ah 1&2&
bet my mon - ey on the bob - tail nag, Some - bod - y bet on the bay.
Camptown Races

Music and words by Stephen Foster (1826-1864)

Arr. by Lois Veenhoven Guderian
Giocoso (q = ca.80-100)
2 j j j j
&4 Œ ‰ œ œ œ œ œ œ œ œ œ œ. œ œ œ
mf
The Camp - town la - dies sing this song, Doo - dah! Doo - dah! The

& œ œ œ œ œ œ œ œ œ œ ˙
Camp - town race - track five miles long, Oh! doo - dah day!

& œ œ œ œ œ ˙ œ œ œ œ œ œ. œ œ
They’re gon - na run all night, They’re gon - na run all day. I will

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
bet my mon - ey on the bob - tail nag, Some - bod - y bet on the bay.

81
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XV

Little David Play on Your Harp is another very familiar tune from nineteenth century America. It
was created by an African American during slave times. It is a spiritual. As with almost all the
beautiful African American spirituals, the composers are anonymous.

Little David Play on Your Harp contains several of the very same rhythm patterns as the piece
Camptown Races. Clap the rhythm and sing the song before sight reading the piece on your
recorder.

Little David Play on Your Harp

Traditional lyrics African American Spiritual
Arr. by Lois Veenhoven Guderian
Vivace (q = ca.88-96)

b 2 ‰œ œ œ j j j j œj œ œ œ œ œ œ
& 4 œ œ œ œ œ œ œ J œ
mf
Lit - tle Da - vid play on your harp, Hal - le - lu, hal - le - lu! Lit - tle Da - vid

& b œj œ j j œ œj ˙ ‰ œ œ œ œ œj œ j
œ œ œ
play on your harp, hal - le - lu. Lit - tle Da - vid play on your

j œj œ œ œ œ œ œ j
& b œj œ œ J œ œ œ œ
j
harp hal - le - lu, hal - le - lu! Lit - le Da - vid play on your

j Fine j
& b œj œ œ ˙ Œ ‰ œ œ œ œ œ. œ
f
harp, hal - le - lu. Lit - tle Da - vid was a
D.C. al fine
&b œ
œ œ œ. œ œ œ œ œ œ œ œ œ œ
J
shep - herd boy. He killed Go - li - ath and shout - ed for joy.

CREATIVE CORNER

Using the same rhythm of either Camptown Races or Little David Play on Your Harp, compose a
completely new tune. Give your piece a title.

82
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XV

Example: Camptown Races Revisited

2Œ ‰ j j œ œj
&4 œ œ œ œ œ œ œ œ œj œ. œ œœœœ
& 1 & 2 & 1 & 2& 1 &2& 1 &2 & 1 & 2 &

& œ œ œ œ œœœ œ ˙ œ œœœ œ

œ œ œ ˙
1 & 2& 1& 2 & 1&2& 1 & ah 2 & 1&2& 1 & ah 2 &

œ.
& œœ œ œ œœœœ œ œ œ œ œœœ œœ ˙
1&2 & ah 1 & 2 e & ah 1 & 2& 1 & ah 2 & ah1&2&

Use the staff below to write your new melody.

2
&4

&

&

&

83
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XV

THEORY AND TERMS FROM LESSON XV

Sixteenth Note ( x ) – receives ¼ of a beat in 4/4 time.

Sixteenth Note Rest ( ) – receives ¼ of a beat in 4/4 time.

Sight-reading – to play or sing a piece for the first time.

Subdivide – to divide into smaller parts.

Staccato – to play a note in a short, separated manner. Staccato is notated by placing a dot above
or below a note head.

ASSIGNMENT

1. Practice the staccato playing technique in Exercise #33.

2. Practice clapping and counting Exercises #34 and #35.

3. Learn the PIECES of LESSON XV: Camptown Races and Little David Play on Your
Harp.

4. Complete the CREATIVE CORNER assignment.

5. Learn the THEORY AND TERMS from LESSON XV.

6. Keep a chart of your practice time.

M TU W TH F SA SU

84
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

LESSON XVI

TECHNIQUE AND FINGERING

Legato Playing

In music, it is sometimes desirable to play notes in a smooth, connected manner. Legato is the
Italian term for smooth, connected playing or singing. Composers notate legato passages by a
slur marking in music scores. A slur is a curved line placed under or above the notes. Study the
following example.

Example 1

2
&b 4 œ œ œ œ œ œ œ

For each note included in the slur, continue the air flow, or breath support, for the tone without
tonguing. To end a slur, make a slight “d” sound with your tongue. Practice legato playing and
the technique for articulating slurs in Exercise #36.

Exercise #36

2
&b 4 œ œ œ œ œ œ œ œ œ œ
œ œ œ œ

&b œ œ œ œ œ œ œ œ œ œ
œ ˙

85
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVI

MUSIC LESSON

The Dotted Eighth and Sixteenth Note Rhythm Pattern

A rhythm pattern found in many pieces of music is the dotted eighth and sixteenth note
combination. In this pattern, the dotted eighth note receives ¾ of the beat and the sixteenth note
receives ¼ of the beat in music where the quarter note is equal to one beat. Study the breakdown
of this rhythm pattern below.

Example 2

œ œ œ œ œ
One quarter note = one beat. Four sixteenth notes = one beat.

j r
œ. œ œ. œ
One dotted eighth = 3/4 One sixteenth = 1/4 One dotted eighth
of a beat. of a beat. and sixteenth note
together = one beat.

Now clap and play Exercise #37.

Exercise #37

4
& 4 œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ ˙
1 e & ah 2 e & ah 3 e & ah 4 e & ah 1 e & ah 2 e & ah 3 e & ah 4 e & ah

& œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ ˙
1 e & ah 2 e & ah 3 e & ah 4 e & ah 1 e & ah 2 e & ah 3 e & ah 4 e & ah

. œ. œ œ. œ ˙
& œ œ œ. œ ˙
1e & ah 2 e & ah 3 e & ah 4 e & ah 1 e &ah 2 e &ah 3 e & ah 4 e & ah

œ . œ œ. œ œ. œ œ. œ œ œ
& œ œ œ œ
1 e & ah 2 e & ah 3 e & ah 4 e & ah 1 e & ah 2 e & ah 3 e& ah 4 e & ah

86
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVI

LESSON XVI PIECES

Clap and count the rhythm of the piece Fancy Skip Blues before playing it on your recorder.
Fancy Skip Blues
Music by Lois Veenhoven Guderian

In a relaxed manner (q = ca.84-100)

4
& 4 bœ. nœ ˙. bœ. œ ˙. bœ. nœ ˙. w
p
*Fan - cy skip 3 4 Fan - cy skip 3 4 Fan - cy skip 3 4 1 2 3 4

& bœ. nœ ˙. bœ. œ ˙. bœ. nœ ˙. w

mp
Fan - cy skip (etc.)

& œ. œ ˙. œ. œ ˙. bœ. nœ ˙. w
mf
* Speak the words “Fancy Skip” and count aloud to learn the rhythm of Fancy Skip Blues more quickly.

Put your new slurring technique to use in the piece Dream. Be sure to continue the air flow, or
breath support, as you change notes within the slur. Dream is written using the C whole-tone
scale to suggest a feeling of dreaminess.
Dream
Music by Lois Veenhoven Guderian
Dreamily (e= ca.96-100)

6 j j œ œ œ œ œ ˙.
& 8 œ œ œ #œ œ #œ œ œ. J
mp
Fine
j j œ œ œ œ œ ˙.
& œ œ œ #œ œ #œ œ œ. J

& œœœœœœ∑ ∑ œœœœœœ œœœœœœ

D.C.al fine
œ œœ
& œœ œœœ œ œ œ œ œ œj œ œj œj ‰ ‰ œj ‰ ‰

87
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVI

The famous song Battle Hymn of the Republic contains several dotted eighth and sixteenth note
rhythm patterns. Clap the rhythm of the piece while speaking the words notated below Part I.

Learn both Parts I and II of Battle Hymn of the Republic on the recorder. Part I is the melody;
Part II is a harmony part. Sing the piece, dividing into sopranos on Part I and altos on Part II.
Reminder: the fingering for high E requires covering only half of the LH thumb hole.

Battle Hymn of the Republic

Words by Julia Ward Howe Traditional tune
Arr. by Lois Veenhoven Guderian
Maestoso (q = ca.60-72)
Soprano ° 4 j œ. œ œ. œ œ. œ œ œ. œ
Recorder & 4 Ó Œ ‰ œ . .
œ œ œ œ œ. œ
Part I
mf
Mine eyes have seen the glo - ry of the com - ing of the Lord; He is
Soprano 4 Ó Œ‰ j
Recorder
Part II ¢ 4
& œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ œ. œ
mf
°
& œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ œ. œ
tram - pling out the vin - tage where the grapes of wrath are stored; He hath

¢& œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ œ. œ
° œ. œ œ. œ
& œ. œ œ. œ œ œ œ œ œ œ œ œ œ œ
loosed the fate - ful light - ning of his ter - ri - ble swift sword; His truth is march - ing

¢& œ . œ œ . œ œ œ œ œ œ . œ œ . œ œ œ œ œ œ œ
° w ˙
œ. œ œ. œ œ. œ
j ˙ œ. œ œ. œ œ. œ
& J
on. Glo - ry! glo - ry, hal - le - lu - jah! Glo - ry! glo - ry, hal - le -
j j œ. œ œ.
¢& w œ. œ œ. œ œ. œ ˙ ˙ œ. œ œ
° ˙ œ œ œ œ œ œ w
& ˙ ˙ œ. œj œ. œ œ. œ
lu - jah! Glo - ry! glo - ry, hal - le - lu - jah! His truth is march - ing on.

¢& ˙ ˙ œ. œj œ. œ œ. œ ˙ œ œ œ œ œ œ w

88
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVI

CREATIVE CORNER

Learn the following piece on your recorder. After you have played it several times, change the
sound by adding slur and staccato markings according to your own musical preference. You will
want to experiment with various possibilities before making your final decisions. It is possible
that you will create two or three possibilities that you like equally!

4
&4 œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ ˙

Fine
& œ œœœ œ œ œ œ œ œ œœœ œ œ œ ˙

D.C. al fine
& œ œ œ œ œ œœ˙ œ œ œ œ œ œœ˙

THEORY AND TERMS FROM LESSON XVI

Slur – a curved line placed under or above notes of various pitches. A slur indicates legato
playing. Slurs can be two or more notes in length. Slurs are played in a smooth, connected
manner. The end of a slur is articulated by making a “d” sound with the tongue.

Dotted eighth and sixteenth note rhythm pattern ( ) – found in meters where the quarter
note receives the beat. The pattern is equal to one beat.

Legato – to play in a smooth, connected manner with no tonguing articulation.

89
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVI

ASSIGNMENT

1.   Practice Exercise #36 using slurring technique where indicated.

2.   Study the dotted eighth and sixteenth note rhythm pattern. Clap, count, and play the rhythm
of Exercise #37.

3.   Learn the PIECES of LESSON XVI: Fancy Skip Blues, Dream, and Battle Hymn of the
Republic.

4.   Complete the CREATIVE CORNER assignment.

5.   Learn the THEORY AND TERMS from LESSON XVI.

6.   Keep a chart of your practice time.

M TU W TH F SA SU

90
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

LESSON XVII

TECHNIQUE AND FINGERING

To review the fingerings for high E, F, and G, study the Fingering Charts for these notes found
on page xxiv and practice Exercise #38. Be sure to slur, tongue, and play staccato where
indicated in the music.

Exercise #38

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. ˙
&

MUSIC LESSON

Eighth and Sixteenth Notes in 6/8 Time

In 6/8 time, sixteenth notes function in the same way eighth notes function in 4/4 time. Study,
clap, and count Exercise #39.

Exercise #39

6
8 œ œ œ œ œ œ œ œ œ œ œj œ. œ œ œ œ ˙.
1 2 3 4 5 6 1 2 3 & 4 5 6 1 23 4 & 5 6 1 2 3 4 56

91
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVII

Dotted Eighth Note and Sixteenth Note Patterns in 6/8 Time

In 6/8 time, the dotted eighth and sixteenth note rhythm pattern functions in the same way the
dotted quarter and eighth note rhythm pattern functions in 4/4 time. Exercise #40 is the rhythm
of the familiar song Silent Night. First, clap the rhythm while saying the words. Second, clap
and count the rhythm.

Exercise #40

Si lent night, Ho ly night, All is calm, All is bright,

6
& 8 œ. œ œ œ. œ œ œ.
œ œ œ. œ œ œ.
œ. J J
1 2& 3 4 5 6 12& 3 4 56 1 2 3 4 5 6 1 2 3 4 56

Triplet

A triplet is a group of three notes played in the note value time of two notes of the same kind.
When playing or singing a triplet, a little trick to make the triplet rhythmically precise is to count
it by using a three syllable word, accent on the first syllable of the word, for each group of
triplets. Count aloud while clapping Exercise #41. A triplet is notated in the music with the
Arabic number 3 over the three notes that are barred together.

Exercise #41

3 3
4
4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1 pine - ap - ple 3 & 4 & pine - ap - ple 2 3 & 4 &
tah teh - pi - teh teh teh teh teh teh - pi - teh tah teh teh teh teh
3 3
œ œ œ œ œ œ œ œ œ œ ˙
1 2 3 4 pine - ap - ple pine - ap - ple 3 - 4
tah tah tah tah teh - pi - teh teh - pi - teh tah ah

92
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVII

LESSON XVII PIECES

Sur le Pont d’Avignon (On the Bridge of Avignon)

French folk song
Arr. by Lois Veenhoven Guderian
Giocoso (q = ca.120-138)
4 œ. œ. ˙ œ. œ. ˙ œ œ œ œ œ œ œ œ
&4
mf
Sur le pont d’Av - ig - non, L’on y dan - se, L’on y dan - se,

Fine
. . œ. œ. ˙ œ œ œ œ œ. œ. ˙
& œ œ ˙
Sur le pont d’Av - ig - non, L’on y dan - se tout en rond.

D.C. al fine
. . œ. œ. ˙ œ. œ. œ. œ. ˙
& .. œ œ ˙ ˙ ..
Les mes - sieurs font comm’ ci, Et puis en - core comm’ ca.
Les mes - dammes font comm’ ci, Et puis en - core comm’ ca.

Tripleting Along

Allegro (q = ca.80) Music by Lois Veenhoven Guderian

3 3 3 3 3 3
4
&b 4 œ œ œ œ œ œ œ œ œœœœœœœ œ œœœœœœœ œ
mf
3 3 Fine 3 3
&b œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ
œœœœœœœ œ
3 3
3 3 3 D.C. al fine
&b œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ bœ
3

93
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVII

Silent Night / Stille Nacht

Words by Joseph Mohr Music by Franz Gruber
Translation from Carols for Christmastide (1859) edited by J. Freeman Young Arr. by Lois Veenhoven Guderian

Soprano ° 6Andante (e= ca.88-100)

œ. œ. œ. œ œ. œ.
Recorder &8 œ . œ J œ.
Descant
p
Soprano 6
Recorder & 8 œ . œ œ
œ œ œ. œ œ
Part I œ . œ. œ œ œ. J J œ.
p
Stil le Nacht, hei - li - ge Nacht, al - les schläft, ein - sam wacht,
Soprano 6 j j
Recorder & 8 œ. œ œ . œ. œ œ œ. œ œ œ. œ œ œ.
Part II
p œ
Si lent night, Ho ly night, All is calm, all is bright,
Alto 6 œ. œ œ œ. œ. œ œ œ. œ œ œ. œ œ œ.
Recorder & 8 J J
Part II ¢ p

° œ. œ. œ. œ. œ. œ.
& œœœ œœœ
j œ. œ j
& œ œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ.
nur das trau - te, hoch - hei - le - ge Paar. Hol der Kna - be in lok - ki - gen Haar,

& œ œj œ. œ œ œ. œ œ œ.
j œ. œ
œœ œ œ. œ œ œ.
’Round yon Vir. gin Moth - er and Child, Ho- ly In .- fant so ten - der and mild,
œ œ œ œ œ œ. œ œ œ. œ œ œ œ œ œ. œ œ œ.
¢& J J

° œ œ œ œ œ œ. ˙.
& œ œ œ . œ œ œ.
œ œ œ. œ œ œ. œ. œ œ œ. œ
& J œ œ ˙.
Schlaf’ in himm - li - scher Ruh’! Schlaf’ in himm - le - scher Ruh’!

& œ œj œ. œ œ œ. œ. œ œj œ. œ œ ˙.
Sleep in heav - en - ly peace, Sleep in heav - en - ly peace.
œ œ œ. œ œ œ. œ. œ œ œ . œ œ ˙.
¢& J J

94
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVII

CREATIVE CORNER

Compose an eight-measure rhythm composition in 4/4 time. Use each note value you have
learned at least once. Teach a friend, family member, or your class how to play your rhythm
composition.

Example:

4 j
4 œ ˙ œ œ. œ œ œ œ œœœœœ œ œ œ œ ˙. œœ
3 3
œ. œ œ. œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ w

Now write your rhythm composition below.

4
4

THEORY AND TERMS FROM LESSON XVII

Triplet – a three-note group played in the note value time of a two-note group. Eighth note
triplets ( ) are played one group per one beat just as two eighth notes are played one group
per one beat.

Dotted eighth and sixteenth note rhythm pattern ( ) in 6/8 time – counted by
subdividing the eighth note value.

95
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVII

ASSIGNMENT

1.   Practice Exercises #38, #39, #40 and #41.

2.   Study the examples of dotted eighth and sixteenth notes in 6/8 time.

3.   Study the triplet examples.

4.   Complete the CREATIVE CORNER assignment.

5.   Learn the THEORY AND TERMS from LESSON XVII.

6.   Practice the PIECES of LESSON XVII: Sur le Pont D’Avignon, Tripleting Along, and
Silent Night.

7.   Keep a chart of your practice time.

M TU W TH F SA SU

96
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

LESSON XVIII

SUPPLEMENTARY SOLOS

Putting it all together

Using what you have learned in this recorder method, learn the pieces that begin on the next
page. Be sure to observe every marking in the music.

97
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

LESSON XVIII PIECES

Soprano Recorder Part I Jingle Bells

(Use with or after Lesson I.) Music by James Pierpont
Arr. by Lois Veenhoven Guderian

œ œ ˙ œ œ ˙ œ œ œ œ ˙ ˙
B B B B B B B B G A B B

œ œ œ œ œ œ ˙ œ œ œ œ ˙ ˙
A A A A G G G B A A B A A

œ œ ˙ œ œ ˙ œ œ œ œ ˙ ˙
B B B B B B B B G A B B

œ œ œ œ œ œ ˙ œ œ œ œ ˙ ˙
A A A A G G G A A A A G G
Soprano Recorder Part II Jingle Bells
(Use with or after Lesson I.)
(For more experienced students - or use after Lesson IV.)
Music by James Pierpont
Arr. by Lois Veenhoven Guderian
œ
œ œ ˙ œ œ ˙ œ œ œ ˙ ˙
G G G G G G G D G G G G

œ œ œ œ œ œ ˙ œ œ œ œ ˙ ˙
C C C C C B B B A A B A D

œ œ ˙ œ œ ˙ œ œ œ œ ˙ ˙
G G G G G G G D G G G G

œ œ œ œ œ œ ˙ œ œ œ œ ˙ ˙
C C C C C B B D D C A G G

98
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

Lully, Lullay
(Use with or after Lesson II.)
Anonymous
Arr. by Lois Veenhoven Guderian
A A B

& œ œ œ ˙ œ ˙ œ ˙. œ œ œ
B G

& ˙ œ ˙. ˙ œ ˙ œ ˙ œ
B

& ˙ œ ˙. œ œ œ ˙ œ ˙. ˙.

99
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

Nocturne
(Use Soprano Recorder I with or after Lesson III.)
(Parts II, III and IV are optional and for more experienced players.)
Music by Lois Veenhoven Guderian

Soprano ° #4 ˙ ˙
Recorder
Part I
& 4 w ˙ ˙ œ œ ˙ ˙ œ œ
Soprano #4 ˙ œ œ
Recorder & 4 œ œ w
Part II œ œ ˙ ˙ œ œ ˙
Soprano #4
Recorder & 4 ˙ ˙
Part III w ˙ ˙ œ œ ˙ ˙ œ œ
Soprano #4 ˙ ˙. œ œ œ ˙ ˙ œ œ
Recorder & 4 w
Part IV ¢ ˙

° #
& œ œ ˙ ˙ ˙ w ˙ ˙ w ˙ ˙
#
& œ œ ˙ ˙ w œ œ w
˙ œ œ ˙ ˙
#
& œ œ ˙ ˙ ˙ w ˙ ˙ w ˙ ˙
# œ œ ˙ ˙ ˙ w ˙. œ
& ˙ ˙ w
¢

° #
& œ œ ˙ ˙ œ œ œ œ ˙ ˙ œ œ w
# ˙ œ œ
& œ œ ˙ œ œ ˙ ˙ œ œ w
#
& œ œ ˙ ˙ œ œ œ œ ˙ ˙ œ œ w
# œ œ ˙ ˙ œ œ œ œ ˙ ˙ œ œ
¢& w

100
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

Go Tell Aunt Rhodie

(Use with or after Lesson IV.)
Traditional American folk song
Arr. by Lois Veenhoven Guderian

4 œ œ
&4 ˙ œ œ ˙ ˙ ˙ œ œ ˙

˙ œ œ ˙ œ œ œ œ œ
& œ w

& ˙ œ œœ œ œ œ ˙ ˙ œ œ œ œ œ œ ˙

& ˙ œœœœ œ œ œ œ œ œ œ œ œ œ ˙

101
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

Du Liegst Mir im Herzen

(Use with or after Lesson IV.)
Traditional German folk song
Arr. by Lois Veenhoven Guderian
4
3 ˙. ˙. œ œ œ ˙ œ ˙.
&4
Stands for four
measures of rest.

& ˙. œ œ œ ˙. ˙. ˙. œ œ œ

& ˙ œ œ œ œ œ œ œ ˙. ˙. ˙.

& ˙. ˙. ˙. œ œ œ œ œ œ ˙. œ Œ Œ

102
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

Dance for Lelia

(Use with or after Lesson V.)
Music by Lois Veenhoven Guderian

3
&4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
f p

& œ œ œ ˙. œ œ œ œ œ œ œ œ œ œ œ œ
f p

.
& œ œ œ œ œ œ œ œ œ ˙ œœœœœ œ œ œ
f

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
p f

103
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

A Little Warbling Song

(Use Soprano Recorder I with or after Lesson VI.)
Music by R. Schumann (1810-1856)
Arr. by Lois Veenhoven Guderian
Nicht Schnell (not fast) (q = ca.76-84)
° 4
Soprano Recorder I &4 œ œ œ œ ˙ œ œ œ œ
mf
œ œ

4œœ œ œ œ œ ˙ œ œ œ œ
Soprano Recorder II ¢& 4
mf

4œœ œ œ œ œ ˙ œ œ œ œ
&4
Piano mf

4
{& 4 œ œ œ œ œœ œ œ œœ œ œœ œ œ œ
œœ 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
&

{
98
& 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

104
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

From Heav’n Above to Earth I Come

(Use with or after Lesson VII.)
Music and words by Martin Luther
Arr. by Lois Veenhoven Guderian

U *
4
&4 œ œ œ œ œ œ œ œ œ
mf
From heav’n a - bove to earth I come To

U
& œ œ œ œ œ œ œ œ
bear good news to ev’ - ry home; Glad

U
& œ œ œ œ œ œ œ œ
tid - ings of great joy I bring, Where -

U
& œ œ œ œ œ œ œ œ œ
of I now will say and sing.

* Fermata sign. Hold the note slightly longer than normal.

See Lesson XII, page 62 for definition of the fermata sign.

105
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

Alouette
(Use with or after Lesson VIII.)
Traditional French folk song
Arr. by Lois Veenhoven Guderian

#4 j j
& 4 œ. œ œ œ œ œ œ œ œ œ œ. œ œ œ
mf
A - lou - et - te, gen - tille A - lou - et - te, A - lou - et - te

#
œœœ œ œœ œ
œœœ œ œœ œ
& œœœ œ ˙
Je te plu - me - rai. Je te plu - me - rai la tete, Je te plu - me - rai la tete,

#œ œ œ j
& œ œ œ œ œ. œ œ œ
œ œ œ
Et la tete, Et la tete. Oh! A - lou - et - te

# j
& œ œ œ œ œ œ œ. œ œ œ œ œ œ œ ˙
gen - tille A - lou - et - te, A - lou - et - te, Je te plu - me - rai.

106
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

Pomp and Circumstance

(Use with or after Lesson IX.)
Music by Edward Elgar
Arr. by Lois Veenhoven Guderian

#2
& 4˙ œœœ ˙
˙ œœœ ˙ ˙
mf
˙
#˙ j
& œ œ ˙ ˙ ˙ œ œ œj ˙ ˙
#
& ˙ œ œ œ
˙ œœ œ ˙ ˙
˙ ˙
# ˙ œ œ œj ˙
& ˙ œ œ ˙
˙ J ˙
cresc.
# j œ œj ˙ œ œ œj ˙
& ˙ œ ˙ ˙ J ˙
f

107
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

My Country ’Tis of Thee / God Save the Queen

(Use with or after Lesson X.)
American words by S. F. Smith (1808-1895) Traditional European tune
British words attributed to Henry Carey (1740) Arr. by Lois Veenhoven Guderian
Maestoso (q = ca.112-120)
3 j j
&b 4 œ œ œ œ. œ œ œ œ œ œ. œ œ
mf
My coun - try ’tis of thee, Sweet land of lib - er - ty,
God save our gra - cious Queen, Long live our no - ble Queen,

&b œ œ œ œ œ œ œ. œ œ œ œ œ
˙. J
f
Of thee I sing: Land where my fa - thers died, Land of the
God save the Queen! Send her vic - to - ri - ous, Hap - py and

j œœœ œ
& b œ . œ œ œ œ œ œ œ œ. œJ œ ˙.
pil - grim’s pride, From ev ’ry moun - tain side Let free - dom ring!
glo - ri - ous, Long to reign o - ver us; God save the Queen!

108
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

March of the Toy Soldiers

(Use with or after Lesson XI.)
Music by Victor Herbert
Arr. by Lois Veenhoven Guderian
Allegro (q = ca.100-112)
2
& 4 Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ nœ œ

& œ œœ œ œ œ œœ 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 nœ œ

œ Œ
& œj ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ Œ

& Œ œ œ œ œ œ œœœœ œœœœ œ œ œ œ œ œ

& œ Œ œ œ œ œ œœœœ œœœœ 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 nœ œ œ œ œ

œ œ œ Œ œ Œ œ œ œ Œ
& œ œ œ œœ œ œ

109
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

Hatikvah
(Use with or after Lesson XII.)
Melody by Samuel Cohen
Arr. by Lois Veenhoven Guderian
Espressivo (q = ca.60-80)
4
&b 4 œ œ œ œ œ œ œ œ œ œ ˙ œ œœœ œ œœœœ˙
mp

&b œ œ œ œ œ œ œ œ œ œ ˙ œ œœœ œ œœœœ˙

&b œ œ œ œ œœœœ˙
œ
œ œ œ œœœœ˙

œ U
b
& œ œœœ œ œœ œ œœœ œ œœœ œ œœœœ˙

110
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

Ode to Joy
(Use with or after Lesson XII.)
Words by Lois Veenhoven Guderian Music by L.van Beethoven (from Symphony no. 9 in D minor)
Arr. by Lois Veenhoven Guderian
Joyfully (q = ca. 100-120)
#4 ∑ ∑ œ œ œ œ œ œ œ œ
& 4 œ œ œ œ
mf
Joy - ful, joy - ful sing with glad - ness Sing in hap - py

# . j
& œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ
cheer - ful - ness! Share your joy with those a - round you Shin - ing bright in

#j
& œ. œ ˙ œ œ œ œ œ œœœ œ œ œœœ œ
p
coun - te- nance. Prac - tice Kind - ness Truth and good - ness. Make these vir - tues

# œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ
mf
yours in life. 'Tis a priv - 'lege to help oth - ers Fills us all with

# j ˙ w w
& œ. œ œ œ ˙
f
thank - ful - ness with thank - ful - ness.

111
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

There is a Balm in Gilead

(Use with or after Lesson XIII.)
African American Spiritual
Arr. by Lois Veenhoven Guderian
Espressivo (q = ca.60)
4 jœ
&b 4 ∑ œ œ œ œ œ. j œ œ ˙
œ
œ œ œ. œ œ ˙ ˙
p

& b œ œ œ œ œ. j œ œ ˙ œ œ œ. jœ œ
œ œ w

& b œ œ œ œ œ. œj œ œ ˙. œ œ œ œ œ. œj œ œ œ œ ˙

jœ
& b œ œ œ œ œ. j œ œ ˙ œ œ œ. œ œ ˙ ˙
œ

& b œ œ œ œ œ. j œ œ ˙ œ œ œ. œj œ œ ˙. œœ
œ

& b œ. j œ œ œ œ ˙ œ œ ˙
œ œ œ w

&b œ œ œ œ ˙ œœœœ˙ œœœœœ œ w w

112
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

Barcarolle
(Use with or after Lesson XIV.)
Music by J. Offenbach
Arr. by Lois Veenhoven Guderian
Espressivo (e = ca.100-112)
6 .. j j j j . . j œ
& 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. . . œ œ J
œ
mp

œ œ j j . j bœ ˙. œ œ œ bœ œ œ
œ
& J J œ œ œ œ œ ˙. . œ œ œ J

& ˙. œ œJ œ œJ ˙. ‰ œ œ œ œ œ œ. œ œj

& œ. œ œj ˙. Ó. œ
j
œ
j
œ œ
j
œ œ œ œ œ

& œ œ œ œ œj ˙. j j j j
œ œ œ œœœœ œ œœœœ œ
œ

‰ ‰ œ œ œ œ œ ˙. ‰ œœœœœ
& ˙. œ œ œ œ œ ˙.

‰ . ˙. ˙.
& ˙. œ œ œ œ œ œ. œ. œ. œ

113
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

Some Folks Do
(Use with or after Lesson XV.)
Music and words by Stephen Foster (1826-1864)
Arr. by Lois Veenhoven Guderian
Gaily (q = ca.84-100)
#2 œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ. œJ
& 4
mf
Some folks like to sigh, Some folks do, some folks do; Somefolks wish to die but

# œ œ œ œ œœ œ œ œ
& œ ˙ œ œ œ œ œ œ œ
that’s not me nor you. Long livethe mer - ry, mer - ry heart that laughs both night and

# . œ œ.
& œ œ œ œ œ œ œ œ
J
œ œ ˙
day, like the Queen of Mirth, no mat - ter what some folks say!

114
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

Blessing
(Use with or after Lesson XVI.)
Music and words by Lois Veenhoven Guderian
Espressivo (q = ca.100-108)
° 4 4
Soprano Recorder
Part I and &4 œ œ œ œ œ œ œ œ œ
Voice I (optional)
p
Go a bout your way and pros - per.
4
Soprano Recorder
Part II and
4 œ œ œ œ œ œ œ œ
Voice II (melody)
&4 œ
p
Go a bout your way and pros - per.
4
Alto Recorder 4 ∑ ∑
(optional) ¢ 4
&

°
& œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ
œ
Take ev - ’ry thing that you have learned. Your whole life un - folds a - bout you,

& œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ
Take ev - ’ry thing that you have learned. Your whole life un - folds a - bout you,

¢& ∑ ∑ ∑ ∑

° œ œ œ œ œœœ œ
& œ œœœ œ œ œ ˙ œ
mp
Reach for what is good and true. Go a - bout your way and pros - per.

& œ œœœ œ œ œ ˙ œ œœœ œ œ œ œ œ

mp
Reach for what is good and true. Go a bout your way and pros - per.

¢& ∑ ∑ ∑ ∑

115
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

° œ œ œ œ œ œ ˙ œ œ œ œ œœœ œ
& œ œ
Take ev - ’ry - thing that you have learned. Your whole life un - folds a bout you,

& œ œ œ œ œ œ œ ˙ œ œœœ œ œ œ œ œ
Take ev - ’ry thing that you have learned. Your whole life un - folds a - bout you,

¢& ∑ ∑ ∑ ∑
° œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ
& œ
pp
Reach for what is good and true. Some - times your life may bring you sad - ness,

& œ œœœ œ œ œ ˙ œ œ œ œ œ œ œ œ œ
pp
Reach for what is good and true. Some - times your life may bring you sad - ness,

∑ ∑ ˙ ˙ ˙ ˙
¢& pp
°
& œ œœ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ
mf
And it may of - ten seem un - fair. Keep your re - solve, and keep your cour -age.

& œ œœ œ œ œ œ ˙ œ œ œ œ œ œ œ œ
œ
mf
And it may of - ten seem un - fair. Keep your re - solve, and keep your cour - age.
˙ œ œ ˙ ˙ ˙ ˙
¢& ˙ ˙
mf
(Instruments only)
° œ œ œ œ œœœ œ
& œ œœ œ œ œ œ ˙ œ
f
You have so much that you can share.

& œ œœ œ œ œ œ ˙ œ œœœ œ œ œ œ œ
f
You have so much that you can share.
˙ œ œ œ˙ ˙ ˙ ˙
¢& ˙ ˙
f

116
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

° œœœ œ ˙
œ œ
œ œ œ œ œ œœœ œ
& œ

& œ œœœ œ œ œ ˙ œ œœœ œ œ œ œ œ

˙ œ œœ˙ ˙ ˙ ˙
¢& ˙ ˙
° œœœ œ œ œ
& œ ˙ œ œ œ œ œ œœœ œ
mp
If your life be - comes un - cer - tain,

& œ œœœ œ œ œ ˙ œ œœœ œ œ œ œ œ

mp
If your life be - comes un - cer - tain,
˙ œ œœ˙ ˙ ˙ ˙
¢& ˙ ˙
mp
° œœ œ œ ˙
& œ œ œ œ œ œ œ œ œ œœœ œ
mf
And it is hard to choose your way. Look for the faith that is with - in you

& œ œœ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ
mf
And it is hard to choose your way. Look for the faith that is with - in you
˙ œ œ œ ˙ ˙ ˙ ˙
¢& ˙ mf
˙
° œ œ œ ˙ w w ˙ Ó
3
& œ ˙
and your path will be re - vealed. 3
& œ œœœ œ ˙ ˙ w w ˙ Ó
and your path will be re - vealed. 3
˙ ˙ ˙ w w ˙ Ó
¢& ˙

117
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

When Johnny Comes Marching Home

(Use with or after Lesson XVII.)
American Civil War Song by Patrick Gilmore (Pseudonym - Louis Lambert)
Arr. by Lois Veenhoven Guderian
Vivace (q. = ca.66-72)
Soprano Recorder ° b6 j j j j
Part I and
Voice I
&b 8 œ œ œ œ œ
œ œ œ œ œ
f
When John - ny comes march - ing home a - gain, Hur -
Soprano Recorder b6 j j j j
Part II and
Voice II (Optional)
&b 8 œ œ œ œ œ œ œ œ œ œ
f
When John - ny comes march - ing home a - gain, Hur -
j j
Soprano Recorder
& bb 68 œj œ œ œ œ j
Part III and
Voice III (Optional) ¢ f
œ œ œ œ œ
When John - ny comes march - ing home a - gain, Hur -

° b j j œ j œ œ
& b œ. œ œj œ. œ œ œ œ œ œ œ œ J
rah! Hur - rah! We’ll give him a heart - y wel -come then, Hur-
b j j j
& b œ. œ œj œ. œ œ œ œ œ œ œ œ œ œ
œ J
rah! Hur - rah! We’ll give him a heart - y wel -come then, Hur-
bb œ. j j j
& œ œj œ. œ œ œ œ œ œ œ œ œ œ œ
¢ J
rah! Hur - rah! We’ll give him a heart - y wel -come then, Hur-

° b œ. œ œ. œ œ œ œ œ œ
&b œ
J
œ
J J
rah! Hur rah! The men will cheer the
bb œ. œ œ ‰ œ ‰ œ ‰
& œ. œ
J
rah! Hur rah! men will

& bb œ. œ
j
œ #œ. œ ‰ œ ‰ œ ‰
¢
rah! Hur rah! men will

118
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

° bb œ œ œ j œ œ œ j
œ œ œ œ œ œ œ. œ.
& J J œ œ
boys will shout, The la - dies they will all turn out and we’ll all be

bbœ ‰ œ ‰ j
& œ ‰ œ ‰ #œ ‰ œ œ œ. œ.
cheer the boys will shout and we’ll all be

bb ‰ ‰ ‰ ‰ ‰ j
¢& œ œ œ œ œ œ œ œ. œ.
cheer the boys will shout and we’ll all be

° bb œ.
& œ. j
œ. ‰ œ œ œ. œ.
œ œ œ œ œ
glad when John - ny comes march - ing home. Yes we’ll all be
b j
& b œ. #œ. œ œ œ œ œ œ. ‰ œ œ œ. œ.
glad when John -ny comesmarch - ing home. Yes we’ll all be

bb j ‰ œ œ
¢ & œ. œ. œ œ œ œ œ œ. œ. œ.
glad when John -ny comesmarch - ing home. Yes we’ll all be

° bb œ. œ œ
& œ. œ œ J œ. œ
œ
glad when John - ny comes march - ing home.
b j
& b œ. #œ. œ œ œ œ œ œ. œ
glad when John - ny comes march - ing home.

bb j
¢ & œ. œ. œ œ œ #œ œ œ. œ
glad when John - ny comes march - ing home.

119
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio LESSON XVIII

Greensleeves
(Use with or after Lesson XVII.)
Anonymous Traditional Dorian melody from the Renaissance
Arr. by Lois Veenhoven Guderian
Dolce (q. = ca.40)
6 j j
& 8 œj œ œ œ. œ œ œ œj œ. œ œ œ œj œ. œ œ œ œ œ œj
p
A - las my love you do me wrong to cast me off dis - cour - teous - ly. For

j
& œ œ œ. œ œ œ œj œ. œ œ œ. œ œ œ œj œ œj œ.
I have loved you oh so long, De - light - ing in your com - pa - ny.

& œ. œ. œ œ œ j
œ œ. œ œ œ j
œ œ. œ œ œ œ
j œ.
Green - sleeves was all my joy, yes Green - sleeves was my de - light.

& œ. œ. œ œ œ j
œ œ. œ œ œ. œ œ œ œj œ. œ
Green - sleeves was my heart of gold, and who but my la - dy Green - sleeves?

120
 PLAYING THE SOPRANO RECORDER
For School, Community, and the Private Studio

MORE SUPPLEMENTARY SOLOS

Loch Lomond

Traditional Scotch folk song

Arr. by Lois Veenhoven Guderian
Espressivo (q = ca.40-48)
#4
& 4œ œ œ œ œ œ œ. œ œ œ œ œ
œ œ
mp
By yon bon - nie banks, and by yon bon - nie braes, Where the

# œ œ ˙ œ œ œ œ œ œ œ œ
& œ œ œ
sun shines bright on Loch Lo - mond, Where me and my true love Were

#œ œ œ . œ œ œ ˙ U
& œ œ œ œ œ œ œ . œ œ œ
ev - er wont to gae, On the bon - nie, bon - nie banks of Loch Lo - mond. Oh!

# j
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ
p
ye’ll take the high road and I’ll take the low road, And I’ll be in Scot - land a

#˙ œ œ œ œ œ œ
& œ œ œ œ œ œ œ
cresc. mf
œ œ
fore ye, But me and my true love will nev - er meet a - gain On the

# . œ œ œ ˙ œ œ œ œ œ œ œ
& œ œ. œ œ œ œ
f
bon - nie, bon - nie banks of Loch Lo - mond. But me and my true love will

#œ œ U
œ . œ œœ œœœ U
œ œ . œ œ
& œ œ œ œ œ ˙ ˙.
dim. mp
nev - er meet a gain On the bon - nie, bon - nie, banks of Loch Lo mond.

121
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio
MORE SUPPLEMENTARY SOLOS

Parson’s Farewell

Traditional tune from the Renaissance

Arr. by Lois Veenhoven Guderian
Vivace (q = ca.120-138)

Soprano Recorder
° 4œ œ œ œ j œ œ œ
Part I &4 œ œ œ œ œ œ
. œ
mf

Soprano Recorder 4
Part II ¢ 4œ œ œ œ
& œ œ ˙ ˙ ˙
mf

° œ œ œ œ œ œ œ œ. œj œ œ œ œ œ
& œ œ ˙

¢& œ œ ˙ œ œ œ œ œ œ ˙ ˙ ˙

° œ œ Œ œ œ œ Œ œ œ œœœ œœœ
& œ œ œ
f

¢& œ œ ˙ œ Œ œ œ œ Œ œ œ œœœ œœœ

f

° œœ ˙ œœ œ œœ œ œ œ œœœ œ
& œ œœœœ œ ˙ ˙

¢& ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙

122
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio
MORE SUPPLEMENTARY SOLOS

The Trout

Adapted from F. Schubert’s song Die Forelle, Op. 32

By Lois Veenhoven Guderian
Moderato (q = ca.92-100)
4
&4 œ œ œ œ œ ˙ œ œ œ. œ
j œ œ œ œ
mf

& ˙. œ œ œ œ œ ˙ œ œ œ œ œ œ œ

& ˙ Œ œ œ. œ œ œ œ œ ˙ œ œ œ. œ œ œ œ œ
J J

j j jœ œ
& ˙ Œ œ œ. œ œ œ œ œ ˙ . .
œ œ œ œ

j œ œ œ ˙ j j
& ˙ Œ œ œ. œ œ œ. œ œ. œ œ œ

j U
& ˙ Œ œ œ. œ œ œ w ˙.

123
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio
MORE SUPPLEMENTARY SOLOS

Swing Low, Sweet Chariot / Nobody Knows the Trouble I’ve Seen

Traditional lyrics African American Spirituals

Arr. by Lois Veenhoven Guderian
Moderato (q = ca.60-84)
Soprano Recorder ° .. œj
4
Part I and & 4 ∑ j œ. œj œ œ œ ˙
Voice I œ œ
No - bod - y knows the trou - ble I’ve seen.
Soprano Recorder 4 ∑ .. œ j
Part II
and Voice II ¢ 4
& ˙ œ œ. œ œj œ.
Swing low, sweet char - i - ot

° j j j j œ. j
& œ œ œ œ œ œ œ œ
œ ˙. œ
No - bod - y knows my sor - row. No - bod - y knows the

& œ œ œ ˙. œ œ ˙. œ
¢ œ œ œ œ
Com - in’ for to car - ry me home. Swing low, sweet

° œ. j ..
& œ œ œ ˙ œ œ œ ˙ ˙
trou - ble I’ve seen. Glo - ry Hal - le - lu - jah!
j ..
¢& œ . œ œj œ. œ œ œ œ œ œ œ w
char - i - ot Com - in’ for to car - ry me home.

124
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio
MORE SUPPLEMENTARY SOLOS

Mi Y’malel (Who Can Retell?)

Traditional Hebrew folk song

Arr. by Lois Veenhoven Guderian*
Allegretto (q = ca.120-126)
4 ˙ ˙
&b 4 œ œ œ œ œ œ œ œ œ œ ˙ ˙
mf
Mi y’ - ma- lel g’vu - rot Yis - ra - el? O - tan mi yim - neh?
Who can re - tell the things that be - fell us? Who can count them?

Fine
&b œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙. Œ .. w
f
Hen b’ -khol dor ya - kum ha - gi - bor go - el ha - am. Sh’ma!
In ev’ - ry age a he - ro or sage came to our aid. Hark!

&b œ œ
œ œ nœ œ œ œ ˙. œ** œ œ œ œ
Ba - ya - mim ha - hem baz’ - man ha - zeh, Ma - ka - bi mo -
Long a - go in Is - rael’s an - cient land, Brave Mac - ca - be - us

& b nœ œ œ œ ˙. œ œ œ nœ œ œ œ œ œ
shi - a u - fo - deh, u - v’ya me - nu kol am Yis - ra -
led the faith - ful band But now all Is - rael will as one a -

D.C. al fine
& b ˙. œ œ œ nœ œ œ œ œ œ ˙ ˙
el, yit’ - a - hed ya - kum ve - yi - ga - el.
rise, Re - deem it - self through deed and sac - ri - fice.

* Special thanks to Michelle Minkoff for her help in denoting the Hebrew lyrics. (Apostrophes denote silent vowels.)
** A tie with a broken line may be used for syllable differences in verses or translated text.

125
Playing the
Soprano
Recorder

Section 2
 First Piece
Music by Lois Veenhoven Guderian
Moderato (q = ca. 69)
4 œ œ ˙
Soprano Recorder &4 œ œ ˙

4
& 4 œœ œœ ˙˙ #œœœ œœœ ˙˙˙
œ œ ˙
Piano
? 44 œ œ œ œ
{ œ œ œ œ

& œ œ ˙ ˙ ˙ œ œ ˙

& œœœ œœ
œ
˙˙
˙ #˙˙˙ ˙˙˙ œœ œœ ˙˙
œ œ ˙
? œ œ œ œ œ œ œ
{ œ œ
œ œ œ

& œ œ ˙ œ œ ˙ ˙ ˙

& #œœœ œœœ ˙˙˙ œœ œœ #œœ œœ ˙˙ ˙˙

œ œ œ œ ˙ ˙
? œ œ œ œ œ
{ œ
œ œ œ œ œ œ
1
 Now The Day Is Over
Words by Sabine Baring-Gould Music by J. Barnaby (1869)
Arr. by Lois Veenhoven Guderian
Andante (q = ca. 66)
4
Soprano Recorder &4 œ œ œ œ ˙ ˙
4
& 4 œœ œœœ œœœœ œœœœ ˙˙˙ ˙˙˙
œp
Piano Now the day is o - ver,

? 44 œ œ œ œ œ

3
{ œ
œ œ œ œ
œ
œ œ
œ
œ œ

& œ œ œ œ ˙ œ œ œ œ œ œ

& œœœ œœ #œœœ œœœ œœœ ˙˙ œœ œ œ œ œ œ

œ ˙ œ #œœœ œœœ œœœ œœœ
Night is draw - ing nigh, Shad - ows of the

? œ œ œ œ œ œ œ œ œ œ
{ 6
œ œ
œ œ œ œ
œ
œ œ œ œ œ œ
œ

& ˙ ˙ œ œ œ œ ˙ ˙

& ˙˙ œœœ bœ œœœœ œœœœ œœœ œœœœ w

w
˙ œ w
eve - ning Steal a - cross the sky.

? œ œ œ œ œ œ œ
{
2
œ
œ
œ
œ
œ œ œ
œ
œ
œ
œ œ œ
˙
 Prelude I
Music by Lois Veenhoven Guderian
Moderato (q = ca. 76)
4
Soprano Recorder &4 œ œ œ œ œ œ ˙

4
& 4 œœ œ
œ œ œ œ
œ œ
œ ˙
œ œ ˙
Piano
? 44 ˙ ˙ ˙ ˙
{
3

& œ œ ˙ œ œ ˙ œ œ œ œ

& œœ œ ˙ œ œ ˙ œ œ œ œ
œ ˙ œ œ ˙ œ œ œ œ
? #˙ ˙ ˙ ˙ ˙ ˙
{
6

& œ œ ˙ œ œ ˙ œ œ ˙

& œœ œ ˙ œ œ ˙ œ œ
œ ˙
œ ˙ œ œ ˙ œ ˙
? ˙ ˙ #˙ ˙ ˙ ˙
{ 3
 Stop and Look
Music by Lois Veenhoven Guderian
Vivace (q = ca. 116)
4
Soprano Recorder &4 œ œ œ œ œ œ ˙

4
&4 œ œ œ œ œ œ ˙
Piano mf
œ œ œ œ œ œ ˙
? 44

3
{
& œ œ œ œ œ œ ˙

& œ œ œ œ œ œ ˙

œ œ œ œ œ œ ˙
?
{ 5

& ˙ ˙ œ œ ˙

& ˙ ˙ œ œ ˙

˙ ˙ œ œ ˙
?
{
4
 Waltz
Music by Lois Veenhoven Guderian
Allegro (q = ca. 116-120)
#3
Soprano Recorder & 4œ œ œ œ œ œ œ œ œ ˙.

#3
& 4œ œ œ œ œ œ œ œ œ ˙.
Piano œ œ œœ œœ
? # 43 œ œ œ œ œ œœ œœ œ
œœ œœ
{
5
#
& 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 œœ œœ œœ œœ œœ œ œ
œ œ œ
œ œ
œ œ œ
œœ œœ
?# œ œ œ œ
{
11
#
& œ œ œ ˙. œ œ œ ˙. œ œ œ ˙.
#
& œ œ œ ˙. œ œ œ ˙. œ œ œ ˙.
œ œ œœ œœ œœ œœ œœ œœ œœ œœ
?# œ œ œ œ œ œ œ œ œœ œœ
{ 5
 Three Gray Mice
Traditional song
Arr. by Lois Veenhoven Guderian
Allegretto (q = ca. 108)
3
Soprano Recorder & 4 ˙. ˙. ˙.
Three gray mice.
3 ˙˙˙... ˙˙.. ˙˙˙...
&4 #˙.
Piano
œ œ
œ œ œ
œ
? 43 œ œ œ œ #œ
{
4

& ˙. ˙. ˙. œ œ œ ˙.
Three gray mice. See how they run,
˙˙˙... ˙. ˙˙˙... œœ œœœ œœ ˙˙..
& #˙˙.. œ œ ˙.
œ œ
? œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ
{
9

& œ œ œ ˙. ˙. ˙. ˙.
See how they run, Three gray mice.
˙. ˙˙˙... ˙. ˙˙˙...
& #œœœ
œœœ œœ
œ #˙˙.. #˙˙˙ ...
œ œ
? œ œ œ œ #œ œ œ œ œ œ œ #œ ˙.
{
6

 
 Looby Loo Revisited
Traditional American song
Arr. by Lois Veenhoven Guderian
Allegro (q= ca.120)
#3 œ œ ˙. ˙.
Soprano Recorder & 4 œ ˙ œ
Here we go loo - by loo, loo.
#3 ˙ ˙. ˙.
& 4 œ œ œ œ
mf
Piano * Here we go loo - by loo, loo.
œœ œœ œœ œœ
? # 43 ˙ ˙ ˙ ˙
{
5
#
& œ œ œ ˙ œ ˙. ˙.
Here we go loo - by light, light,
#
& œ œ œ ˙ œ ˙. ˙.
Here we go loo - by light, light,
œœ œœ œœ œœ
?# ˙ ˙ ˙ ˙
{
9
#œ
& œ œ ˙ œ ˙. ˙.
Here we go loo - by loo, loo,
# ˙. ˙.
& œ œ œ ˙ œ
Here we go loo - by loo, loo,
œœ œœ œœ œœ
?# ˙ ˙ ˙ ˙
{
* Voice/R.H. piano part may be doubled by a soprano recorder.

 
 13
#
& œ œ œ œ œ œ ˙. ˙.
All on a Sat - ur - day night, night.
#œ œ œ œœ
& œ œ œ ˙. ˙.
All on a Sat - ur - day night, night.
œœ œœ ˙
œœ
˙
œœ
?# ˙ ˙
{
17
#
& œ œ œ œ œ œ œ œ œ ˙.
Here we go loo - by loo, loo - by loo, loo,
#œ œ œ œ œ œ œ ˙.
& œ œ
Here we go loo - by loo, loo - by loo, loo,
œœ œœ œœ œœ
?# ˙ ˙ ˙ ˙
{
21
#
& œ œ œ œ œ œ ˙. œ Œ Œ
All on a Sat - ur - day night. night!
#œ >œ
œ œ œœ œ Œ Œ
& œ œ ˙. œ
All on a Sat - ur - day night. night!
œœ œœ œœ >œœ
?# ˙ ˙ ˙ œ Œ Œ
{
8
 Piece
Music by Lois Veenhoven Guderian
Allegro (q = ca. 120-138)
#4
Soprano Recorder & 4œ œ œ œ w
#4
& 4 œœ œœœ œœ œœ w
w
œ œ œ w
Piano
? # 44 œ. œ. œ. œ. œ.
{ œ. œ. œ.

3
#
& œ œ œ œ w œ œ œ œ

# œœ œœ œœ œœ
& œœœ œœœ œœœ œœœ w
w
w œ œ œ œ
?# œ. œ. œ. œ. œ. œ.
{ œ.
œ. œ.
œ.
œ. œ.

6
#w
& ˙ ˙ w
#
& ww
w
˙˙˙ ˙˙ w
˙ ˙˙ w
w
?# œ. œ. œ. œ. œ. ˙
{ œ. œ.
œ. œ. œ.
9
 Almost a French Folk Song
Music by Lois Veenhoven Guderian
Vivace (q = ca. 92)
#4
Soprano Recorder & 4œ œ ˙ œ œ ˙
4
#4 1

& 4 œœ œœ ˙˙ œœ œœ ˙˙
Piano mf
œœ œ œ ˙
? # 44 œœ ˙˙
œ œ ˙
{ 2
4

3
#
& œ œ œ œ ˙ ˙ œ œ ˙
#œ œœ œœ œœ
& œ ˙˙ ˙˙ œœ œœ ˙˙
œ œ œ œ œ œœ œœ ˙˙
?# œ œ œ
{
6
#
& œ œ ˙ œ œ œ œ ˙ ˙
#
& œœ œœ ˙˙ œœ œœ œœ œœ ˙˙ ˙˙
œ
? # œœ
œ ˙ œ œ ˙˙ ˙˙
{ œ ˙ œ

10
 Frère Jacques
Traditional French round
Arr. by Lois Veenhoven Guderian
Allegro moderato (q = ca.116-120)
#4
Soprano Recorder & 4 œ œ œ œ œ œ œ œ œ œ ˙
Frè - re Jac - ques, Frè - re Jac - ques, Dor - mez vous?
#4 œ ˙
& 4 œ œ œ œ œ œ œ œ œ
Piano * Frè - re Jac - ques, Frè - re Jac - ques, Dor - mez vous?
? # 44 ∑ ∑ ∑
{
4
# .. œ
& œ œ ˙ œ œ œ œ œ œ œ
Dor - mez vous? Frè - re Jac - ques, Frè - re Jac - ques,
(Son -nez les ma - ti - nes, Son - nez les ma - ti - nes)
# œ ˙ .. œ œ œ œ œ œ œ œ œ œ
& œ œ œ
Dor - mez vous? Son - nez les ma - ti - nes, Son- nez les ma - ti - nes,
?# ∑ .. œ œ ˙ œ œ ˙
{
7 Repeat is optional in the student version. See page 16 in Section 1.
# ..
& œ œ ˙ œ œ ˙ w
Din, Din, Don! Din, Din, Don!
Din, Din, Don! Din, Din, Don!
# ..
& œœ ˙˙ œœ ˙˙ w
œœ ˙ œœ ˙ w
w
Din, Din, Don! Din, Din, Don!
?# œ œ ˙ œ œ ˙ .. w
{
* Right hand piano part is the melody of the traditional round for singers.
It can be doubled or substituted by more advanced soprano recorder players as well as by singers.

11
 Hot Air Balloon Waltz
Music by Lois Veenhoven Guderian
Grazioso (q = ca. 92-104)
3
Soprano Recorder & 4 ˙. œ œ œ ˙. œ œ œ
3
& 4 ˙˙.. œ œ œœ ˙˙.. œ œ œœ
Piano
œ œ
? 43 œ œ œ œ
œ
œ
œ œ
œœ
{ œ œ œ
œ œ œ
5

& ˙. œ œ œ ˙. ˙.

& ˙.. œ œ œ ˙. ˙.
˙ œ œ œ ˙. ˙.
? #œ #œ œ œ
œ œ
œ
œ œ
{ œ œ œ
œ œ œ œ
9

& ˙. 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
13

& ˙. œ œ œ ˙. ˙.

& ˙˙.. œ œ œ ˙. ˙.
œ œ œ ˙. ˙.
? #œ #œ œ ˙
œ œ
œ
{ œ œ œ œ œ œ œ œ
12
 Little Bird
Music by Lois Veenhoven Guderian
Presto (q = ca. 138-144)
#4
Soprano Recorder & 4œ œ œ œ œ œ œ œ œ œ ˙

#4
& 4œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Piano mp
œ œ œ œ œ œ œ œ œ œ œ œ œ
? # 44 œ œ œ
{
3
#
& œ œ ˙ œ œ œ œ ˙ œ œ œ œ œ œ œ œ
#œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
mf
œ œ œ œ œ œ œ œ œ œ œ œ
?# œ œ œ œ œ œ œ œ œ œ œ œ
{
6
#œ
& œ ˙ œ œ œ œ œ œ œ ˙ ˙
#
& œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?# œ œ œ œ œ
{ 13
 9
#
& œ œ œ œ œ œ œ œ œ œ ˙
“”
# œ
& œ œ œ œ œ œ œ œ œ ˙

œ œ œ œ œ œ
?# œ œ œ œ œ œ œ œ œ œ
{
11
#œ
& œ ˙ œ œ œ œ ˙ œ œ œ œ œ œ œ œ
<“>
#œ ˙ œ œ œ œ ˙
& œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?# œ œ œ œ œ œ
{
14
#œ
& œ ˙ œ œ œ œ œ œ œ ˙ ˙
<“>
#œ ˙ œ œ œ œ 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
{
14
 Chester
Music and words by W. Billings*
Arr. by Lois Veenhoven Guderian
Firmly (q = ca.84-92)
4 œ œ ˙
Soprano Recorder &4 ˙ ˙
Let ty - rants shake their

4 œœ œœœ ˙˙
& 4 ˙˙˙ ˙ ˙˙˙
œ
Piano
? 44 œ œ œ œ œ œ œ

3
{ œ œ œ œ
œ
œ œ œ œ

& œ œ œ œ w ˙ œ œ
i ron rod, And Slav’ - ry

& œœ œœ œœ œœ w ˙˙˙ œœœ œœœ

w
w
? w œ œ œ œ
{6
w
œ
œ œ œ
œ
œ
œ
œ œ œ
œ
œ

& œ œ œ œ ˙ ˙ w
clank her gall - ing chains.

& œœœ œœ œœ œœ ˙˙ ˙˙ w
˙ ˙ w
w
? ˙ œ œ œ œ œ œ œ œ
{ ˙
˙
˙ œ
* One of America’s first composers 1746-1800
œ œ œ œ œ œ œ

15
 9

& ˙ œ œ ˙ œ œ
We fear them not we

& ˙˙˙ œœ œœ ˙˙˙ œœ œ

œ œ œ

? ˙˙ ˙˙ ˙˙
{ ˙

11

& œ œ œ œ œ œ w œ œ œ œ
trust in God. New Eng - land’s

& œœ œœ œœ œœ œœ œœ w
w
w
œœ
œ œœœ œœ
œ œœœ

? œ œ w œ œ
{ ˙ œ œ

14

& ˙ œ œ ˙ ˙ w
God for - ev - er reigns.

& ˙˙˙ œœœ œœœ ˙˙ ˙˙˙˙ w

w
˙ w

? œ œ œ œ
{ œ œ œ œ
œ œ œ œ œ œ w
w

16
 From Brahms’ First
Adapted from J. Brahms’ Symphony no. 1 in C Minor
By Lois Veenhoven Guderian
Allegro non troppo (q = ca. 108-120)
4
Soprano Recorder &4 ˙ œ œ ˙ œ œ

4
& 4 ˙˙˙ œœ œœ ˙˙ œ œœ
Piano f
œ œ ˙˙ œ œ
? 44 ˙ œ œ œ œ
{
3
˙.
& œ
œ œ œ œ ˙ œ œ
œ

œ œœ œœ œ œœ ˙˙... ˙˙ œœ
& œœ œ œ œœ œ ˙ œ ˙
œœ
œ œ
? ˙ ˙ œ œ ˙ œ œ
{ œ œ

6
œ œ œ œ œ œ w
& ˙ œ

œœ œœœ œœœ œœœ œœ œœ w

& ˙˙ œ œ w
w
? ˙˙
œ œ œ œ œ œ
œ œ œ œ
{ œ
˙
17
 Twenty-First-Century Minuet
Music by Lois Veenhoven Guderian
Allegro (q = ca. 112-120)
3 œ œ œ
Soprano Recorder &4 œ œ œ œ œ œ œ ˙.

3 œ œ œ
&4 œ œ œ œ œ œ œ œ œ œ
˙.
˙.
œ œ
Piano f
œ œ œ ˙.
? 43 œ œ œ œ ˙
{
5
œ œ œ œ œœœœ
& œ œ œ œœœ œ ˙ œ œ œ œ

& œ œ œ œœ œ œœ œ œœ œœ œœ ˙ œ œ œœœœ œ œ œ
˙
p f
˙. ˙˙..
? œ œ œ œ ˙ œ œ œ ˙˙..
{
11

& œ œœœœ ˙ œ œ œœœœ œ œ œ œ œ œ ˙.

& œ œœœœ ˙ œ œ œœœœ œ œ œ œ œ œ ˙.

p
˙ . ˙˙.. ˙˙.. ˙˙.. ˙˙.. ˙˙..
? ˙.
{
18
 Song Without Words
Music by Lois Veenhoven Guderian
Andante (q = ca.72-88)
#4 ˙ œ œ
Soprano Recorder & 4 œ œ ˙
mp
#4 ˙ œœ œœ ˙
& 4˙ œ œ
œ œ ˙
Piano mp

? # 44 œ œ œ
{ œ œ œ œ œ œ œ œ œ œ œ œ œ

3
# œ œ œ œ
& ˙ œ œ ˙ ˙
p mp
# œœ œœ œœ œœ
& ˙˙ œ # œœ n ˙˙ ˙
˙
œ
p mp
œ œ œ œ œ œ
?# œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ
{ œ œ
œ

6
#
& œ œ ˙ ˙ œ œ w
#
& œ œ ˙ ˙ œ œ w
œ œ ˙ ˙ œ œ w

?# œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
{ œ

19
 9
# œ
& ˙ œ œ œ ˙
mf
#˙ œœ œœ
& ˙ œ œ ˙
œ œ œ œ ˙
mf

?# œ œ œ œ œ œ œ œ œ œ
{ œ œ
œ œ œ œ

11
# ˙ œ œ w œ œ
& ˙
mp
# ˙ œœ œœ w œœ œœ
& ˙ œ œ w
w ˙
˙
mp
œ œ
?# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
{ œ œ œ œ

14
#
& œ œ ˙ ˙ œ œ w
#
& œ œ ˙ ˙ œ œ w
œ œ ˙ ˙ œ œ w

?# œ œ œ œ ˙
œ œ œ œ œ œ
{ œ œ œ œ œ œ œ œ œ œ
20
 Prelude II

Music by Lois Veenhoven Guderian

Moderato (q = ca. 100-112)
#4 œ
Soprano Recorder & 4 œ œ œ ˙ ˙
f
#4 œ
& 4 œœ œœ œœ œœ ˙˙ ˙˙˙
œ œ œ ˙
Piano f
? # 44 œ œ œ œ
{ œ œ œ œ

3
#œ
& œ œ œ w œ œ œ œ
p
#
& œœœ œœ
œ
œœœ œœ w
w
w
œœ
œ
œœ
œ
œœ
œ
œœ
œ
p
?# œ œ œ œ œ œ
{ œ œ œ œ œ œ

6
#
& ˙ ˙ œ œ œ œ w
#
& ˙˙ ˙˙˙ œœ œœ œœœ œœœ w
˙ œ œ œ w
w
?# œ œ œ œ œ œ
{ œ œ œ œ œ œ
21
 9
#
& ˙ ˙ ˙ ˙
mf mp
#˙
& ˙˙ ˙˙ ˙˙ ˙˙
˙ ˙ ˙
mf mp
?# œ œ œ œ
{ œ œ œ œ

11
#
& œ œ œ œ w ˙ ˙
mf f
#
& œœœ œœ
œ œœœ œœ w
w
w
˙˙
˙ ˙˙
˙
mf f
?# œ œ œ œ œ œ
{ œ œ œ œ œ œ

14
#˙
& ˙ œ œ œ œ ˙ ˙
p mf
#˙
& ˙˙ ˙˙ œœ œœ œœœ œœ ˙˙ ˙˙
˙ œ œ œ ˙ ˙
p mf
?# œ œ œ œ œ
{
22
œ œ œ œ œ ˙
 Aura Lee
Words by G. R. Poulton Music by W.W. Fosdick, ca. 1830
Arr. by Lois Veenhoven Guderian
Moderato (q = ca. 100-112)
4 œ œ œ œ œ ˙
Soprano Recorder &4 œ
p
As the black - bird in the spring,

4 œœ œœœ œœ œœ œœ ˙˙
& 4 œœ œ œ œ ˙
Piano p

œ œ œ
? 44 œ œ œ œ œ
{ œ œ
œ
œ
œ
œ œ œ

& œ œ œ œ w œ œ œ œ
pp
’neath the wil - low tree, Sat and piped, I

& œœœ œœ œœœ œœ w

w œœ œœ œœœ œœ
œ œ œ w œ œ
pp

? œ œ œ œ œ œ œ œ œ œ œ œ œ œ
{ œ œ
œ
œ œ
œ
œ œ

& œ œ ˙ œ œ œ œ w
heard him sing; sing of Au - ra Lee.

& œœœ œœ ˙˙ œœœ œœ œœœ œœ w

˙ œ œ œ w
w

? œ œ œ œ œ œ œ œ œ œ œ œ
{ œ
œ
œ œ œ œ œ
œ œ
œ

23
 9

& œ œ ˙ œ œ ˙ œ œ œ œ
mf
Au - ra Lee, Au - ra Lee, maid with gold - en
œ œœ ˙˙ œœœ œœœ ˙˙˙ œœœ œœ œœ
& œœ œ ˙ œ œ
œœœ
œ
mf
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ
{ œ œ
œ œ

12

& w œ œ œ œ œ œ œ œ
mp
hair. Sun - shine came a - long with thee, and
w œœ œœ œœ
& w
w œœ œœ
œ œœœ œœ
œ œ œœ œ œ
mp
œ œ
? œ œ œ œ œ œ œ œ œ
{ œ œ
œ
œ œ
œ
œ
œ
œ œ œ

15

& œ œ œ œ w
swal - lows in the air.

œœœ œœ œœ œœœ w
& œ œ œœ œ w
w

? œ œ œ œ œ œ œ
{
24
œ œ
œ
œ œ ˙
 Burleske
Music by Leopold Mozart
Arr. by Lois Veenhoven Guderian
Vivace (q = ca. 120-138)
2 œ œ
Soprano Recorder &4 œ œ œ ˙
œ
f
(repeat with R.H. one octave higher)
2 œ œ œ
&4 œ œ œ œ œ œ œ ˙
Piano f
œ œ œ œ
? 42 œ œ œ œ
{
5

& œ œ œ œ œ œ œ œ
˙ œ œ
p

& 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 œ
{ œ

11

& œ œ ˙ œ œ œ œ œ œ ˙

& œ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙
œ œ œ œ œ
? œ œ œ œ œ œ
{ œ
25
 17

& œ œ œ œ œ œ ˙ ˙ œ œ
f p

& ˙ ˙ œ œ œ œ œ œ ˙
˙
f p
œ œ œ œ œ œ
? œ œ œ œ œ
{ œ

23

& œ œ œ œ ˙ œ œ
˙ œ œ
f

& ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ
f
œ
? œ œ œ œ œ œ œ œ œ
{ œ œ

29
(repeat the entire piece)
& œ œ ˙ œ œ ..
œ œ œ œ ˙

& œ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙ ..

? œ œ
œ œ
{ œ œ œ œ œ
œ œ œ œ ..

26
 White Coral Bells
Traditional round
Arr. by Lois Veenhoven Guderian
Moderato (q = ca.108)
4
Soprano Recorder &4 ˙ œ œ ˙. œ
mp
White cor - al bells up -
4
&4 ˙ œ œ ˙. œ
Piano mp

? 44 ∑ ∑
{
3

& œ œ œ œ w œ œ
œ œ
on a slen - der stalk, Lil - lies of the

& œ œ œ œ w œ œ œ
œ
˙ œ œ
? ∑ ∑
{
6
œ œ ˙ ˙ w
& œ œ
mf
val - ley deck my gar - den walk.

œ œ ˙ ˙ w
& œ œ
mf

? ˙. œ œ œ œ œ w
{ 27
 9

& ˙ œ œ ˙. œ
p
Oh don’t you wish that

& ˙ œ œ ˙. œ
p

œ ˙
? œ œ œ œ œ
{
11

& œ œ œ œ w œ œ
œ œ
you could hear them ring? That will hap - pen

& œ œ œ œ w œ œ œ
œ
˙ ˙ w ˙ œ œ
?
{
14
œ œ ˙ ˙ w
& œ œ
mf
on - ly when the fair - ies sing!

œ œ ˙ ˙ w
& œ œ
mf

? ˙. œ œ œ œ œ w
{
28
 Peaceful Evening

Music by Lois Veenhoven Guderian

Smoothly (q = ca. 120-138)
#3 ˙ ˙.
Soprano Recorder & 4 œ ˙ œ ˙ œ
œ
mp
#3
& 4 œ ˙ œ ˙ ˙ œ ˙.
˙ œ ˙ œ ˙ œ ˙.
Piano mp
? # 43 Œ
{ œ œ œ œ œ œ œ œ œ œ œ œ

6
# ˙. ˙ ˙
& œ ˙. ˙ ˙ œ
œ œ
# ˙˙.. ˙˙ ˙˙
& œœ ˙˙.. ˙˙ ˙˙ œœ
œ œ
œ œ
œ œ œ
œ œ œ œ œ œ œ œ œ
?# œ œ œ œ
{
12
# ˙. ˙.
& ˙ œ ˙ œ ˙. ˙

# ˙˙. ˙.
& ˙˙ œœ . ˙. ˙˙ œœ ˙. ˙
˙. ˙
?# œ œ œ
œ œ œ œ œ œ œ œ
{ œ œ œ œ ˙
29
 Amazing Grace
Words by John Newton Early American tune
Arr. by Lois Veenhoven Guderian
Espressione (q = ca. 76-88)
3
Soprano Recorder &b 4 ∑ Œ Œ ˙ œ œ
œ
A - maz - ing
3
&b 4 Œ œ œ œ œ œ œ œ œ œ œ œ
Piano . . .
? b 43 œ œ
œ
œ œ
œ
œ œ
œ
{ J
With pedal
J J

&b ˙ œ ˙ œ ˙ œ œ
˙ œ
grace, how sweet the sound, That saved a

&b œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
œ. œ j œ. œ. œ œ ˙
? œ œ œ œ œ
{ bJ œ J

8
˙ œ ˙ œ. j
&b ˙ œ œ œ œ œ
wretch like me; I once was

& b ˙˙˙ œ œœ œ œ œ œ œ Œ œ œ œ
˙ œ œ œ œ œ .
? œ œ œ œ œ œ
{
30
bœ J
12
j
&b ˙ œ. œ œ œ ˙ ˙ œ œ
œ œ
lost but now I’m found, Was blind, but

&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
b œ. œ . œ ˙
œ œ
j . œ
?b œ
œ œ
œ œ œ
{ J J

16

&b ˙ œ ˙. ˙. ˙.
now I see.

&b œ j œ ˙˙.. ˙˙..

œ œ œœ œœ.. œ œ
œ œ ˙ œ
?b œ œ œ
{ œ œ œ œ ˙.

31
 Deck the Hall
Traditional lyrics Old Welsh tune
Arr. by Lois Veenhoven Guderian
Vivace (q = ca. 108)
# 4 œ. œ
Soprano Recorder & 4 œ œ œ œ œ œ
J
f
Deck the hall with boughs of hol - ly,
# 4 œœ.. œœ
& 4 œœ œœ œœ œœ œœ œœ
J
Piano f
œ. œ œœ œ œœ œœ œœ
? # 44 œ. œ œ œ
{ J

3
# j œ.
& œ œ œ œ œ. œ œ œ ˙ œ œ
J œ
Fa la la la la, la la la la. ’Tis the sea - son

# j œœ.. œœ
& œ œ œ œ œœ.. œœ ˙˙ œœ œœ
œ œ J
œœ.. j œœ œ ˙˙ œœ.. œ œœ œ
?# œ œ œ œ œ œ
{ J

6
# j
& œ œ œ œ œ œ œ œ œ. œ œ œ ˙
to be jol - ly, Fa la la la la, la la la la.

# j
& œœ œœ œœ œœ œ œ œ œ œœ.. œœ ˙˙
œ œ
œœ œ
? # œœ œ
œœ
œ œ
œœ..
œ
j œœ
œ
˙˙
{
32
9
# œ œ
& œ. œ œ œ œ. œ œ œ œ œ œ œ
J J
mp mf
Don we now our best ap - par - rel, Fa la la la la la,
# j j
œ œ œ œ œ œ
& œ. œ œ œ œ. œ œ œ
mp mf
˙˙
?# ˙ œ œ œ œ ˙ ˙
{
12
# œ. œ œ
& œ œ ˙ œ œ œ œ œ
J
f
la la la. Troll the an - cient Yule - tide car - ol,
#œ œ ˙ œœ.. œœ œœ œœ
& œœ œœ œœ œœ
J
f
œœ.. œ œœ œ œœ œœ œœ
?# œ œ ˙ œ œ œ
{ f
J

15
# j
& œ œ œ œ œ. œ œ œ ˙
Fa la la la la, la la la la.
#œ œ œ œ œœ.. j
& œ œ œ œ œ œœ œœ ˙˙
œ
?# ˙ j ˙˙
{ œ. œ œ œ

33
 Largo
Music by A. Dvorak (from the New World Symphony)
Arr. by Lois Veenhoven Guderian
Espressione (q = ca. 100-112)
° # 4 œ. œ ˙ j
Soprano Recorder & 4 J œ. œ ˙
p
#4
Alto Recorder ¢ 4w
& w
p

#4 œœœ ˙˙˙ j
& 4 œœœ... œœ..
œ.
œ ˙
J œ ˙
Piano p

? # 44 œ ˙. œ ˙.
{ œ
With pedal
œ

3
° # j
& œ. œ œ. œ w œ. œ˙
J œ. œ˙
J J
#w w w
¢ & w

# j œ. j œœœ ˙˙˙ j
& œœœ... œœ œœ.. œœ ww œœ.. œœœ... œœ ˙˙
w œ. J
?# œ œœ œœ œ ˙. ˙.
{
34
œ œ œ œ œ ˙ œ œ
œ
7
° # j œ˙
& œ œ œ. œ w œ. œ œ ˙
J
mf
#˙ ˙ w œ. œ˙ œ œ ˙
¢ & J
mf
# j œœ.. œœœ ˙˙˙ œœ œœ ˙˙˙
& œœœ œ œœœ... œ w
w œ. J œ
w mf
?# œœ
{ œ œ œœ œ
œ
˙ œ œ œ œ œœ œ œ
œ œ œ œ œ œ
11
° # œ œ œ˙
& œ œ w œ. J œ œ ˙
#œ œ œ œ w œ. œ˙ œ œ ˙
¢ & J
# œœ œœ œœ.. œœ w œœ.. œœ ˙˙ œœ œœ ˙˙˙
& œ œ œ. w œ. œ˙ œ
J w J
?# œ œœ œœ œ œ
{ œ œ œ œ œœ œœ
œ œ œ ˙ œ œ œ œ
15 7
° # œ œ œ˙ j
& œ œ w œ. J œ. œ˙
p
#œ œ œ œ w
¢ & w w
p
# œœ œœœ œœ.. œœ w œœœ ˙˙˙ j
& œ œ. w œœ.. œœ.. œ˙
J w œ. J œ. œ˙
p
?# œ ˙. œ ˙.
{ œ œ œœ œ œœ œ œ
œ œ œ ˙
35
 19
° #
& œ. œ œ. œ w œ. œ˙
J œ. œ˙
J J J
cresc.
#w w
¢ & ˙ ˙ w
cresc.
# j j œœ.. œ ˙˙˙
& œœœ... œœ œœœ... œœ ww œœ.. œ ˙˙
J˙ œ. J
w œ.
cresc.
?# œ œœ œœ œ œ œœ œ œ
{ œ œ œ œ œ ˙ œ œ œ œ
œ
œ

23
° # œ. œœ œ w œ. œœ œ w
& J J
mf p
# œ. œœ œ
¢& J w ˙ œ œ w
mf p
# œœœ... œ œœœ œ w
w œœ..
œ.
œ œœœ œ w
w
& J w J w
mf p
?# œœ œ
œ
œœ
{ œ œ œ œ œ˙
œ œ œ ˙ œ œ
œ œ œ œ

36
 Shepherds’ Song
Adapted from L. van Beethoven’s Symphony no. 6 in F Major
By Lois Veenhoven Guderian
Espressivo (q = ca.120-132)
# 6 ˙. œ ˙.
Soprano Recorder & 4 ˙ ˙ œ
mp
#6 . œœ ˙..
& 4 ˙˙˙.. œ ˙˙. ˙˙ ˙˙ œ
mp
˙ ˙
Piano
? # 46 œ œ œ œ œ œ œ œ œ œ œœ
œ œœœ
{ œ œ œ œ

3
#
& ˙ œ˙ œ ˙. œ œ œ ˙. ˙ œ

#
& ˙˙ œ ˙˙˙ œœ ˙˙˙... ˙˙.. ˙˙˙.. ˙˙˙ œ
˙ ˙. ˙..
?# œ œ œ œ œ œ œœœœ œœœœ œœœ œœœœ
œ œ œ
{ œ œ œ œ œ œ

6
#
& ˙. ˙ œ ˙
œ˙ œ œ ˙ ˙.
# ˙.
& ˙˙.. ˙˙ œ ˙˙ ˙˙..
˙ œ ˙˙˙ œ œœ ˙˙˙
˙ ˙.
?# œ œœ 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
37
 9
# . œ
& ˙ ˙ ˙. ˙ œ
mf
# œœœ œœœ œ ˙˙
œœœ œœœ œœœ œ ˙˙
œœœ
& œœ ˙ œœ ˙
œ œ
mf
?# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
{ œ œ œ œ

11
# œ˙ œ ˙. œ œ œ ˙. œ
& ˙ ˙
mp
# œœœ ˙˙.. ˙˙.. ˙˙˙.. ˙˙˙˙
& ˙ œ ˙˙˙ ˙. ˙. ˙.. œœ
˙ mp
?# œ œ œ œ œ œ œ œ
œ œ œœ œ œ œ œ œ œ œ œ œ
{ œ œ œœ
œ
œœ œ œ

14
# ˙. œ ˙
& ˙ œ ˙ œ ˙. ˙.

# .
& ˙˙˙.. ˙˙˙ œœœ œœ œœ œœ ˙˙
˙˙ œœœ ˙˙.. ˙˙..
œ œ œ ˙. ˙.
? # œ œ œ œ œœ œ œ œ œ œœœœ œ œ œ œœ œ
{
38
œ œ œœ
œ
œ œœ œœ
17
#
& ˙. ˙. ˙. ˙.
p
# ˙˙.. ˙˙ ˙˙˙...
& ˙˙.. ˙ œœ ˙˙˙ œœœ
p
?# œ œ œ œ œ œ œ œ œ œ œ
{ œ œ œ œ œ œ
œ
œ
œ

19
# œ ˙.
& œ œ œ ˙. ˙. ˙. ˙
pp
# ˙˙.. ˙˙˙˙... ˙˙˙... ˙˙˙... ˙˙..
& œœœ œœœ œœœ ˙. . ˙.
pp
?# œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
{ œ œ œœ œœ œœ œœ

22
#
& ˙. ˙. ˙. ˙. Ó. Ó.

# ˙.
& ˙˙.. ˙˙.. ˙˙.. ˙˙.. ˙˙.. Ó.
˙. ˙. ˙. ˙.
?# œ œœœ œœœœ œ œœœ œœœœ ˙.
Ó.
{ œ œ œ œ
39
 Reminiscent of an Old Dance

Music by Lois Veenhoven Guderian

Vivace (q = ca. 112-120)
#2
Soprano Recorder & 4œ œ œ œ œ œ œ œ œ œ œ œ
mf
#2
& 4œ œ œ œ œ œ œ œ œ œ œ œ
Piano mf
œ œ œ œ œ œ œ œ œ œ
? # 42 œ œ œ œ œ œ
{
5 Fine
#œ œ œ
& œ œ œ œ œ œ œ œ œ ˙

#œ œ œ
& œ œ œ œ œ œ œ œ œ ˙
œ œ œ œ œ œ
?# œ œ œ œ œ œ œ œ œ œ
{
9
#
& œ œ œ œ œ œ œ œ œ œ œ œ
p
œ œ œ œ œ œ œ œ
# œ œ œ œ
&
p
œ œ œ
œ œ œ œ
œ œ œ œ œ œ
?# œ œ œ
{
40
13
#
& œ œ œ œ œ œ œ œ œ œ œ œ ˙

#œ œ œ œ œ œ œ œ œ œ œ œ ˙
&
œ œ œ œ œ œ
?# œ œ œ œ œ œ œ œ œ œ
{
17
#
& œ œ œ œ œ œ œ œ œ œ œ œ ˙
f

#
& œ œ œ œ œ œ œ œ œ œ œ œ ˙
f

? # œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ
{
21 D.C. al fine
#
& œ œ œ œ œ œ œ œ œ œ œ œ ˙
p

#
& œ œ œ œ œ œ œ œ œ œ œ œ ˙
p

? # œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ
{ 41
 Brother Come and Dance with Me
Music by E. Humperdinck
Arr. by Lois Veenhoven Guderian
Allegro (q = ca. 120-138)
4 j
Soprano Recorder & b 4 œ. œJ œ œ œ œ ˙ œ . œ œ œ œ œ ˙
mf
4w
&b 4 w
w
œœœ œœœ ˙˙˙ w
w
w
œœ œœ ˙˙
œ œ ˙
Piano mf
? b 44 w
œœ œœ ˙˙ w œœ œœ ˙˙
w w
{
5
˙ œ. œ œ œ œ
&b œ œ ˙ œ œ J œ ˙ œ œ œ œ œ œ ˙

w
&b w
w
w w
w
w
w
w
œœ œœ ˙˙˙ w
œ œ w
w
œœœ œœœ ˙˙˙

w w w œ œ ˙˙ w œ œ ˙
?b w w w œ œ ˙
{ w œ œ

11

& b œ œ œ œ œ œ ˙ œ œ ˙ œ œ ˙ œ. œJ œ œ œ œ ˙ ..

œœ œœ ˙˙ ˙˙˙
&b w
w
w œ œ ˙
˙˙ ˙˙˙
˙
˙˙˙ w
w
w
œœ œœ ˙˙˙ ..
œ œ
œ œ ˙ ˙
?b w ˙˙ ˙˙ ˙˙ w œ œ ˙˙
w œ œ ˙ ˙ ..
{
42
w œ œ
 Bird Song at Evening

Music by Lois Veenhoven Guderian

Grazioso (q = ca. 100-108)
3 œ
Soprano Recorder &b 4 œ œ œ
œ
mp
3 œ œ ˙
&b 4 ∑ œ œ ˙
Piano mp
œ œ
? b 43 ∑ œ
{
3

&b œ œ œ œ œ œ œ œ ˙ œ
œ œ ˙ œ œ ˙
b œ ˙ œ ˙ ˙.
& œ œ ˙.
œ œ œ œ œ œ
?b œ œ œ
{
6

&b œ œ œ œ œ œ œ œ œ œ œ
œ
œ œ ˙˙ œ œœ ˙˙ ˙ œ
&b œ œ œ ˙ œ
œ œ œ œ œ œ
?b œ œ œ
{ 43
 9
œ
&b ˙ œ œ œ œ
œ œ œ œ
˙. ˙ œ œ ˙
b œ œ œ œ ˙
& ˙. œ œ ˙
œ œ œ œ œ œ
?b œ œ œ
{
12

&b œ œ œ œ œ œ œ œ œ
œ œ œ

œ ˙ œ œœ ˙˙ œ œ ˙˙
& b œœ œ ˙ œ œ œ

? œ œ œ œ œ œ œ œ œ
{ b

15

&b œ œ œ œ
œ œ œ œ ˙
œ œ ˙ ˙.
b
& œ œ ˙ ˙ œ ˙.
˙ œ
œ œ œ œ ˙
?b œ œ
{
44
œ
 Canción de Cuna
(Lullaby)
Anonymous Traditional Basque folk song
Arr. by Lois Veenhoven Guderian
Cantabile (q = ca.52-60)
4 œ
Soprano Recorder &b 4 œ œ œ œ œ
mp
Duér - me - te ni ño,

4 œœ
& b 4 œœœ œœœ
œ œœ
œ
œ œœœ
Piano* mp
LH Optional until #5
? 44 œ œ œ œ œ œ œ œ œ
2
{ b œ
œ
œ œ
œ
œ œ

&b œ œ œ œ œ œ
Duér - - me - te ni ño,

& b œœœ œœœ œœ

œ œœ œ œœ
œ œ
?b œ œ œ œ œ œ œ œ
{ œ œ œ œ œ
œ œ œ
3

&b œ œ œ œ œ œ œ œ œ ˙
Duér me - te ni - ño a - rru, a - rru.

& b œ œœ œœ œœ œœœ œœ œœ
œ œ œœœ œœœ ˙˙
œ œ œ ˙
?b œ œ œ œ œœœ œ œœœ œ
{ œ œœ œ œ œ
œ
œ
œ œ
œ
œ œœ œœ œ
* For a more folk-like rendition, substitute a chord accompaniment on guitar, autoharp, or keyboard if desired.
Use the following chord progression:
Refrain: FM; Gm; C7; Dm; BbM; CM; FM; BbM; FM; BbM; C7; FM (repeat as necessary).
Verse: FM; BbM; FM; BbM; FM6/4; C7; FM; C7 (repeat) 45
 5 Slightly faster (optional) (q = ca.60-80)

&b œ œ œ œ œ œ œ
œ œ œ œ œ
A la puer - ta del ciel - o ven - den za - pa - tos,

& b ≈ œ œ œ ≈ œœr ≈ œœr ≈ œ œ œ ≈ œœr ≈ œœr ≈ œ œ œ ≈ œœr ≈ œœr ≈ œ œ œ ≈ œœr ≈ œœr

œ œ œ œ œ œ œ œ œ œ œ œ
?b
{ œ œ œ œ
œ œ œ œ œ œ œ œ
7

&b œ œ œ œ œ œ œ œ œ œ œ œ
Pa’ - los an - ge - li - tos que an - dan des cal - zos.

r r r r r r
& b ≈ œ œ œ ≈ œœ ≈ œœ ≈ œ œ œ ≈ œœ ≈ œœ ≈ œ œ œ ≈ œœ ≈ œœ ≈ œ œ œ ≈ œœr ≈ œœr
œ œ œ œ œ œ œ œ œ œ œ œ
?
{ bœ œ œ œ
œ œ œ œ œ œ œ œ
9

&b œ œ œ œ œ œ œ œ œ œ œ œ
Duér - me - te ni ño, Duér - me - te ni ño,

r≈ r≈ r ≈ r ≈ œ œ ≈ œr ≈ œr ≈ ≈ œr ≈ œr
&b ≈ œ œ ≈ œ œ œ œ ≈ œ
œ œ
œ œ œ œ œ œ œ
œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ

?b
{ œ œ œ œ
œ œ œ œ œ œ
œ œ

46
11

&b œ œ œ œ œ œ œ œ œ ˙
Duér me - te ni - ño a - rru, a - rru.
r
& b ≈ œ œ œ ≈ œœr ≈ œœ ≈ œ œ œ ≈ œœr ≈ œœr ≈ œ œ œ ≈ œœr ≈ œœr ≈ œ œ œ ≈ œœr ≈ œœr
œ œ œ œ œ œ œ œ œ œ œ œ
?b
{ œ œ œ œ
œ œ œ œ œ œ œ œ

13

&b œ œ œ œ œ œ œ œ œ œ œ œ
Duér - me - te ni ño, Duér - me - te ni ño,

r≈ r≈ r≈ r ≈ r≈ r≈
&b ≈ œ œ ≈ œ œ œ œ ≈ œ œ œ
œ œ
œ ≈ œ
œ œ
œ œ œ ≈ œr ≈ œr
œ œ
œ œ œ œ œ œ œ œ œ œœ œœ œœ
œœ œœ œœ œ œ

?
{ bœ œ œ œ
œ œ œ œ œ œ
œ œ

15

&b œ œ œ œ œ œ œ œ œ ˙
Duér me - te ni - ño a - rru, a rru.
r
& b ≈ œ œœ ≈ œœr ≈ œœ ≈ œ œœ ≈ œœr ≈ œœr ≈ œ œœ ≈ œœr ≈ œœr ≈ œ œœ ≈ œœr ≈ œœr
œ œ œ œ œ œ œ œ œ œ œ œ
?b
{ œ œ œ œ
œ œ œ œ œ œ œ œ

47
 17

&b œ œ œ ˙
œ œ œ œ ˙
Duér - me - te ni - ño a - rru a - -

r ≈ œr ≈ r ≈ r ≈ œ œ œœ ≈ œœr ≈ œœr ≈ ≈ œr ≈ œr
&b ≈ œ œ ≈ œ
œ œ œ œ ≈ œ
œ œ
œ œ œ œ œ œ œ
œœ œ œ œœ œ œ œ œ œœ œœ œœ
?b
{ œ œ œ œ
œ œ œ œ œ œ œ œ

19

&b w w
rru.

r r r r
& b ≈ œ œ œ ≈ œœ ≈ œœ ≈ œ œ œ ≈ œœ ≈œœ w
w
œ œ œ œ œ œ w
?b
{ œ œ œ œ œ œ w

48
 Jacob’s Ladder
Traditional lyrics African American Spiritual
Arr. by Lois Veenhoven Guderian
Allegro (q = ca. 120-138)
4 Œ Œ Œ
Soprano Recorder &4 œ ˙ œ ˙ œ ˙
mf
We are climb - ing Ja - cob’s
4 Œ Œ Œ
& 4 œœ ˙˙ œœ ˙˙ œœœ ˙˙˙
Piano
œ ˙ œ ˙
mf
? 44 œ œ œ œ œ œ œ œ
{ œ
œ œ œ

& œ Œ Œ Œ
˙ œ ˙ œ ˙
lad - der, We are climb - ing

& œœœ ˙˙ Œ Œ Œ
œœ ˙˙ œœ ˙˙
˙ œ ˙ œ ˙
? œ œ œ
{ œ œ œ œ œ œ œ œ œ

& œ ˙ Œ œ ˙ Œ œ ˙ Œ
Jac - cob’s lad - der, We are

& œœ ˙˙˙ Œ œœ ˙˙˙ Œ œœ ˙˙ Œ

œ œ œ ˙
? œ œ œ
{ œ œ œ œ œ œ œ œ œ
49
 10

& œ ˙ Œ œ ˙ Œ œ ˙ Œ
climb - ing Ja - cob’s lad - der,

& bœœœ ˙˙˙ Œ œœœ ˙˙˙ Œ œœ

œ ˙˙˙ Œ

? œ œ œ
{ bœ œ œ œ œ œ œ œ œ

13

& œ ˙ Œ œ ˙ Œ Œ Ó
w œ
Broth -ers sis - ters all.

& œœ ˙ Œ œœ Œ Œ Ó
œ ˙˙ œ ˙˙˙ w
w œœ
w œ
? œ œ œ œ œ œ œ œ Œ Œ
{ œ œ œ œ œ
œ

50
 Playing Statues

Music by Lois Veenhoven Guderian

Presto (q = ca. 138-144)
#4 œ œ Œ Œ
Soprano Recorder & 4 œ œ œ œ œ œ œ œ
mf (mp)
#4 œ œ
& 4 œ œ œ Œ œ œ œ œ œ Œ
mf (mp)
Piano œ œ œ œ œ œ œ œ œ œ
? # 44 Œ Œ
{
3
# œ œ œ œ œ Œ œ œ œ œ œ Œ
& œ œ œ œ
#
& œ œ œ œ œ œ œ œ Œ œ œ œ œ œ Œ
œ
œ œ œ œ
? # ˙˙ ˙˙ œ
Œ
œ
Œ
{
6
#
& œ œ œ œ œ Œ
œ œ œ œ œ 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
?# ΠΠ..
{
51
 Joshua Fit the Battle
Traditional lyrics African American Spiritual
Arr. by Lois Veenhoven Guderian
Allegro (q = ca. 120-138)
4
Soprano Recorder &b 4 ∑ ∑
œ œœœœ œœ
mf
Josh -ua fit the bat - tle of
4
& b 4 œœ Œ œœ Œ œœ Œ œœ Œ œœ Œ œœ Œ
œ. œ. œ. œ. œ. œ.
Piano mf
? b 44 œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ
{ œ. œ. œ. œ. œ. œ.
4

b j jÓ j j j jÓ
& œœ œ œœ œÓ œœ œ
œ œœœ œ œœ
Jer - i - cho, Jer - i - cho, Jer - i - cho. Josh -ua fit the bat- tle of

& b œœ Œ œœ Œ # œœ Œ œœ Œ œœ Œ œ
# œœœ
Œ œœ Œ œœ Œ
œ. œ. œ. œ œ. œ œ. . œ. œ.
?b œ Œ œ Œ œ Œ
{ . œ. Œ œ Œ œ Œ
.
œ Œ œ Œ
œ. œ. œ. œ. œ.
8
j j
&b œ œ œ Œ œ œ œ œ œ œ œ œ ˙
Ó
Jer - i - cho, and the walls came a tumb - a - lin’ down.

& b œœ Œ œœ Œ Œ Œ œœ Œ œœ Œ
œ. œ. # œœœœ œœœ
œ. œ. œ.
.
?b œ Œ œ Œ
{ œ. Œ œ. Œ œ Œ œ Œ
œ. œ. œ. œ.
52
11
j jÓ j j j j
&b œ œœœ œ œ œ œ œ œ œœ œÓ œœ œÓ
mp
Josh - ua fit the bat- tle of Jer - i - cho, Jer - i - cho, Jer - i - cho,

&b œœ Œ œœ Œ œ Œ
œœ œœ Œ # œœ Œ œœ Œ œœ Œ # œœ Œ
œ. œ. . œ. œ. œ œ. œ œ. œ. œ
mp
?b œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ
{
15
œ. œ. œ.
j
œ.
j
. . œ. .

&b œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ
Josh -ua fit the bat - tle of Jer - i - cho, and the walls came a tum - ba -lin’

& b œœ Œ œœ Œ œœ Œ œœ Œ œ Œ œœœ Œ
œ. œ. œ. œ. # œœœ œ.
.
?b œ Œ œ Œ œ Œ œ Œ
{ œ. œ. œ. œ. œ. Œ œ. Œ
18

&b ˙ Œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ
f
down. You may talk a - bout your king of Gid - e - on, You may

& b œœ Œ œœ Œ œœ Œ œœ Œ œœ Œ œœ Œ
œ. œ. mf
. . . .
?b œ Œ œ. œ. œ. œ.
œ Œ œ Œ œ Œ œ Œ œ Œ
{
21
œ. œ.
&b œ œ œ œ œ œ œ œ ˙ Œ œ œ œ œ œ œ
talk a - bout your men of Saul, But there’s none like good old

& b œœ Œ œœ Œ œ Œ œœ Œ œœ Œ œœ Œ
. . # œœœ œ. œ . .
. œ. . œ. œ.
? b œœ Œ œ Œ
{ œ. Œ œ. Œ œ Œ œ Œ

53
 24

&b œ œ œ Œ œ œ œ œ œ œ œ ˙.
œ
Josh - u - a, and the bat - tle of Jer - i - cho. Oh

& b œœ Œ œœ Œ
# œœœœ
Œ
œœœ Œ œœ Œ œœ Œ
. . œ. . .
. œœ. . œœ. œœ.
? b œœ Œ Œ Œ
{ œ. œ. Œ Œ Œ
27
j j j jÓ j j
&b œ œœœ œœœ
œ œ œ Ó œœ œ œœ œÓ
mf
Josh - ua fit the bat -tle of Jer -i - cho, Jer - i - cho, Jer -i - cho.

& b œœ Œ œœ Œ œœ Œ
œœ Œ # œœ Œ œœ Œ œœ Œ œ Œ
œ. œ. œ. œ. œ. œ œ. œ œ. # œœœ
mp .
?b œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ
{ 31
œ. œ. œ.
j
œ.
j
. . œ. .

&b œ œ œ œ œ œ œ œ œ œ Œ œ œ œ Œ œ Œ
Josh - ua fit the bat - tle of Jer - i - cho, and the walls came

& b œœ Œ œœ Œ œœ Œ œœ Œ œœ Œ œœ Œ
œ. œ. œ. œ. œ. œ.
mf
?b œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ
{ 34
œ. œ.
w
œ. œ. œ.
œ Œ Ó
œ.
&b œ Œ œ Œ
tumb - blin’ down. Down!

&b œ Œ œœ Œ œœ Œ œœ Œ œœ Œ œœ Œ
# œœœ œ. œ œ. œ. œ. œ.
.
?b
{ œ. Œ œ. Œ œ Œ œ Œ œ Œ œ Œ
œ. œ. œ. œ.
54
 Higher and Higher Waltz

Music by Lois Veenhoven Guderian

Grazioso (q = ca. 120-138)
3 ˙.
Soprano Recorder &b 4 œ œ œ ˙. œ œ œ
mf
3 ˙˙..
& b 4 œœ œœ œœ ˙.
˙.
œœ œœ œœ
Piano mp
? b 43 œ œ œ œ œœ œœ œ œœ œœ œ
œœ œœ
{
5

˙. ˙. œ œ œ ˙.
&b œ œ œ œ œ œ

˙. ˙˙.. œœ œœ œœ ˙˙..
& b œœ œœ œœ œœ œœ œœ
˙.
œ œ
? b œ œœ œœ œ
œœ œœ
œ
œœ œœ œ œœ œœ œ œ œ œ œœ œœ
{
11

b œ œ œ ˙. ˙. œ œ œ ˙.
& œ œ œ

b œœ œœ œœ ˙˙.. ˙˙.. œ œœ œœ ˙.
& œ œœ œœ ˙. œ ˙.
œ
? b œ œœ œœ œ œœ œœ œ œ œ œœ œœ
œ
œ œ œ ˙˙
{ œ
55
 The Tie
Music by Lois Veenhoven Guderian
Moderato (q = ca.100-112)
#3
Soprano Recorder & 4 œ œ œ œ œ œ œ ˙. ˙ œ
mp
#3 Œ
& 4 œœ œœ œœ œœ œœ œ ˙˙.. ˙˙ œœ
Piano mp

? # 43 Œ œœ œœ œœ ˙˙ œœ ˙˙.. ˙˙..
{
5
#
& œ œ œ
œ œ œ ˙. ˙ œ
œ œ œ ˙ œ

#œ œ œ œœ œœ
& œ œ œœ ˙˙.. ˙˙ œ ˙˙ œ
œ œ œœ
˙˙ œœ ˙˙.. ˙.. ˙.. ˙. ˙˙..
?# ˙ ˙ ˙.
{
11
# œ
& œ œ œ œ
œ ˙ œ œ œ œ ˙

#œ œ œœ
& œ œ œ œ œ œœ ˙˙
˙˙ œ œ
˙˙.. ˙. ˙. ˙˙
? # ˙˙.. ˙. ˙.
{
56
 Wake, Awake, for Night Is Flying
(Wachet auf, ruft uns die Stimme)
Chorale tune by Philipp Nicolai
Arr. by Lois Veenhoven Guderian
Moderato (q = ca.84-96)
U
4
&4 Ó ˙ œ œ œ œ
œ œ œ œ œ œ
Soprano Recorder œ œ

4 U œœ œ œœ œœ
&4 Ó œ œ œ œœ œœ œœœ
˙˙ œœ œœ œ
Piano U œœ œ œœ œœ
? 44 ∑ ∑ œ œ œ
œ
{
5
U U
& œ œ ˙ œ œ œ œ œ œ œ œ
˙ œ œ

U U
& #œœ œœ ˙˙ œœ œœ œœ œœ œœ œ œœ œ
œ ˙ œ œ
œ œœ Uœœ œ # œœ U
? œ #œ œ œ œ œ œ œ œ ˙˙ Ó
{
9
U œ
˙ œ œ œ œ œ ˙
& œ œ œ œ œ œ

U œœ œ
& œ œœ œœ œœœ ˙˙ œœ œœ œœ œ œœ œœ ˙˙
œ #œ
U œœ œ œœ œœ œœ œœ
? ∑ œ œ œ œ #œ œ
{ 57
 13
U U
& œ œ œ œ œ œ œ œ Œ œ œ
˙ œ œ œ

U U
& œœ œœ œ œ œœ œ œœ œ Œ œ œœ
œ œ œœ œœ œœ
œ ˙
U œœ # œœ œ
? œœ œ U
œ œ ˙˙ Ó
œ œ œ
{ œ œ

17
U U U
& ˙ Œ œ œ œ œ ˙ œ œ
œ ˙ œ œ

U U U
& . œ œœ œœ œœ œœ œœ œœ œœ œœ œœ
˙ œœ œ ˙
œ U U
?U
˙˙ Ó œœ œ œ ˙ œ œ œ œ œ œ
{
21
œ œ œ U U
& œ œ œ œ œ œ œ œ œ œ œ ˙

œ œœ œœ U U
& œœ œœ œœ œ œœ œ
œ
œœ œ œœ
œ œ œœ œœ ˙
œ
œ œ œœ œ œœ Uœœ œ œœ œ bœ œ œœ
? œœ œ œ œ œ œ œ œ œ U
˙˙
{
58
 The Ash Grove
Welsh melody
Arr. by Lois Veenhoven Guderian
Cantabile (q = ca. 80-92)
#3 Œ Œ œ œœ œ œœœœ
& 4 œ
Soprano Recorder
œ œ œ œ
mp
The ash grove how grace -ful, how plain - ly ’tis
#3
& 4 Œ Œ œ œ œœ œ œ œœ œ œ œœ œœ œ œœ œ
œ œ œ
Piano mp
? # 43 ∑ œ œœœœ œœœœœ œœœœœ
{ œ œ œ

5
#
& œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
speak - ing. The harp thro’ it play - ing has lan - guage for

#
& œœ œ œ œ œ œ œ
œœ œ
œ œ œ œ œ œœ œœ œœ 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

9
# œœ œ œœ œœ
& ˙ œ œ œ œ œ
œ
me. When - ev - er the light through its bran - ches is

# œ œœ ˙˙ œ œœ ˙˙ œ œœ ˙˙
& ˙ œ œ œ
˙ œ
?# œ œ œ œ œ œ œœ œœ œ œ œœ œ œ œœ œœ
{ œ œ œ œ
59
 13
#
& œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
break - ing a host of kind fa - ces is gaz - ing on

# œ ˙ œ œœ ˙˙ œ œœ œœ
& œœ œ ˙ œ œ œœ ˙˙ 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

17
#
& ˙ œœ œ œœœœ œ œ œ œ œœœœ œ œ œ
me. The friends of my child - hood a - gain are be fore me. Each

#˙
& ˙ Œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
˙ ˙
?# œœœœ œ œ ˙ ˙
{ œ œ œ œ
œ
œ
œ

22
#œ œ œ ˙
& œ œ œ œ œ œ œ œ œ
step wakes a mem’ - ry as free - ly I roam; With

#œ œœ #œœœœ ˙˙
& œ œ œœ œœ œœ œœ œœ œ œœ œ ˙ œ
œ œ
?# œ ˙ œ ˙ j œ. œ œ œ
{
60
œ œ œ œ œ œ
26
# œ œ œ œ œ œ œ œ
& œ œ œ œ œ
œ œ
soft whis - pers la - den, it’s leaves rus - tle o’er me The
œ œ œ œ œ œ œ œ œ œ
# œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ
œ œ œ
?# œ œ œ œ œ œ œ œ œ œ œ
{ œ œ œ œ œ œ

30
#
& œ œ œ œ œ œ œ œ ˙ œ
œ œ œ
ash grove, the ash grove a - lone is my home, a -

#œ œ œ œ œ œ œ œœ œœœ
& 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

34
#
& ˙. ˙ œ ˙. ˙. ˙.
lone is my home.

# ˙˙˙... ˙˙˙
œœœ
˙˙.. ˙˙..
& ˙ ˙. ˙. ˙˙..
˙.
œœ œœ œœ
?# œœ œ œ œ
{ œ
œœ œœ œœ ˙.
œœ
61
 Andante
Music by F. J. Haydn (from Symphony no. 94, Surprise)
Arr. by Lois Veenhoven Guderian
Vivace (q = ca. 100-112)
#4
Soprano Recorder & 4œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
mf
3rd 3rd 3rd 2nd 3rd 3rd 3rd
#4
& 4 œœ Œ œœ Œ œœ Œ œœ Œ
Piano mf
œ œ
? # 44 œœ Œ
œœ
Œ œ Œ œ Œ
{
3
#
& œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
œ œ œ œ œ œ œ œ
3rd 3rd 3rd 2nd 2nd 8th(octave) 4th 4th 2nd 2nd 3rd
#
& œœ Œ œœ Œ œœ Œ œœ œœ œœ Œ œœ Œ

? # œœ œœ œ œ œœ œ œ
{ Œ Œ œ Œ œ œ Œ œ Œ

6
#œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
2nd 2nd 2nd 2nd 2nd 3rd 3rd 3rd 2nd 2nd 8th(octave) 4th
#
& œœ Œ œœ Œ œœ Œ œœ Œ œœ Œ œœ œœ

? # œœ
œ œœ œœ œ œ œœ
{ Œ œ Œ Œ Œ œ Œ œ

62
 Allegretto Scherzando
Music by L. van Beethoven (from Symphony no. 8 in F Major)
Arr. by Lois Veenhoven Guderian
Allegretto scherzando (q = ca.120-132)
4
Soprano Recorder & b 4 œ œ œ œ œ œ œ nœ œ œ nœ œ œ œ œ ˙ Œ œ
mf

4 œœœ œœœ œœœ bnœœœœ œœœ bnœœœœ nœœœ bœœœœ

& b 4 œœœ œœœ œœœ œœœ œœœ Œ Œ œœ
œ
Piano mf
œ œ œ œ œ œ œ œ
? b 44 œ œ œ œ œ œ œ œ
{
5

& b œ œœ œ œ œ œ œ œ Ó œ œ œ œ œ œ œ nœ œ œ nœ œ œ œ œ

&b œœ œ œœ œ œœ œœ œ œœ œœ Ó œœœ œœœ œœœ œœœ œœœ œœœ œœœ bnœœœœ œœœ bnœœœœ nœœœ bœœœœ
œ œ œœ œœ
?b œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ œ œ
{ œ

10

&b œ Œ Œ œ œ œ œ œ œ œ œ œ œ Ó œ œ œ œ œ œœ œ œ Ó œœÓ

& b œœœ Œ Œ œ œœœ œ œœœ œ œœœ œœœ œ œœ œœ Ó œœ œ œœ œ œœ œœ œ œœ œœ Ó œœ œœ Ó

œœ œ œ œœ œœ œœ
?b œ œ œ œ œ œ œ œ œœœ œ
œ œ
œ œœ œ œÓ
{ œ œ œ
63
 All Through the Night
Words by Sir Harold Boulton (1884) Traditional Welsh tune
Arr. by Lois Veenhoven Guderian
Peacefully (q = ca. 60-72)
° b4 j œ œ œ ˙
Soprano Recorder & 4 œ. œ œ œ nœ. œ. œJ
p
J
Sleep, my child and peace at - tend thee, All through the
While the moon her watch is keep - ing, All through the
Hark, a so - lemn bell is ring - ing, Clear through the

b 4 j j j
Soprano Recorder ¢ 4 œ.
& œ œ œ œ. œ œ œ ˙ œ. œ
p

4
&b 4 ˙ ˙ ˙ ˙˙ ˙ ˙˙
Piano p
œ œ œ œ œ œ
? b 44 œ œ œœ œ nœ œ œ œ œ
œ œ
{
4
° j
&b w œ. œ œ œ nœ. œ œ œ ˙ œ. œ
J J
night; Guar - dian an - gels God will send thee, All through the
night; While the wear - y world is sleep - ing, All through the
night; You, my love, are heav’n - ward wing - ing, Home through the

j j j
¢& b w œ. œ œ œ œ. œ œ œ ˙ œ. œ

&b w
w ˙ ˙ ˙ ˙˙ ˙ ˙˙
œ nœ œ œ œœœ œœ
?b œ œ œ œ ˙ œ œ œ œœ œ œ
œ
œ
{
64
8
° b
& w œ œ œ œ œ œ œ œ
mf
night; Soft the drow - sy hours are creep - ing,
night; O’er thy spir - it gen - tly steal - ing,
night. Earth - ly dust from off thee shak - en,
œ œ œ
¢& b w œ œ œ œ œ
mf
œœ œœ œœ œœ œœ œ
&b w
w œœ œœ œ
mf
?b œ œ œ œ ˙
œ œ œ œ œ œ œ œ œ œ œ
‰ J J J J J J J
{
11
° j
&b œ œ œ. j œ. œ œ œ
œ œ œ œ œ
Hill and vale in slum - ber sleep - ing, I my lov - ing
Vi - sions of de - light re - veal - ing, Breathes a pure and
By good an - gels art though tak - en; Soul im - mor - tal
j j
¢& b œ œ œ œ œ. œ œ œ œ. œ œ œ

& b œœ œœ œœ œœ œœ œœ œœ œœ ˙ ˙
œ
? b œJ œ œJ œJ œ œJ œJ œ œJ
œ œ œ œ œ œ
J J œ œ
{
14
° b nœ.
& œ œ œ ˙ œ. œ w
J J
vig - il keep - ing, All through the night.
ho - ly feel - ing, All through the night.
shalt thou wak - en, Home through the night.
j j
¢& b œ . œ œ œ ˙ œ. œ w
&b ˙ ˙˙ ˙ ˙˙ w
w
œ œ œ œ
? b œ nœ œ
œ œ œ œ
œ œ œ œ œ ˙
{
65
 Irish Dance
Music by Lois Veenhoven Guderian
Vivace (q. = ca. 80-92)
#6 j
Soprano Recorder & 8œ œ œ œ œ œ
œ œ œ.
f
#6
& 8œ j j
œ œ œœ œ œ j
œ œœ œ
j
Piano f
œ
? # 68 œ. œœ..
{ œ. œ..
œ
œ..
œ

3
# j
& œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ
# j j j j j j
œœ
& œ
œ œ œœ œ œ œœ œ œ
œ œ œœ œ
? # œ. œ.. œ.. œ..
{ œ. œ œœ.
.
œœ.
. œ œ

6
# Fine
& œ j
œ œ œ
j œ œ œ œ œ œ œ œ œ.
J
#
j j œœ j
& œ j œ
œ œ œ
j œ
œ œ œœ œ œ œœ..
œ
? # œ. œœ.. œœ.. œœ..
{
66
œ.
œœ.. œœ.
.
9
# j œ œ œ œ œ œ.
& œ œj œ œJ œ œ œ œ. œ œ J
# j œ j œ j œ j œ j œ j
& œ œj œ œj œœ œ œ
œ œ œ œ œ œ œ œ œ œ œ
? # œ.
{ œœ.. œœ. œœ.. œœ.. œœ.. œœ. œœ..
œ. . .

13 D.C. al fine
# j
& œ œj œ œJ œ œ œ œ œ œ œ œ œ œ œ œ. œ.
# jœ j œ j œ œj œ j œ œj
& œ œj œ œj œœ œ
œ œ œ œ œ œ œ œ œ œ
? # œ.
{ œ.
œœ.. œœ.
.
œœ.. œœ.. œœ.
.
œœ.. œœ.
.

67
 Vive la Compagnie
Traditional lyrics French folk song
Arr. by Lois Veenhoven Guderian
Vivace (q. = ca. 80-96)
# 6 Œ.
‰ ‰ j œ œ œ œ œ œ
Soprano Recorder & 8 œ œ œ œ œ.
mf
Let ev - ’ry good fel - low now join in the song,
#6
& 8 ∑ œœ.. Œ. œœ.. Œ.
œ.
Piano mf
? # 68 œœ.. œœ..
{ ∑ Œ. Œ.

4
# j
& œ œ œ œ œ œ. œ œj œ œ œ œ œ œ œ œ œ œ.
Vi - ve la com - pa - gnie! Suc - cess to each oth - er and pass it a - long,
#
& œœ.. œœœ.. œœ.. Œ. œœ.. Œ. œœ.. Œ.
.
œ.
? # œœ.. œ.
œœ..
Œ.
œœ..
Œ.
œœ..
Œ.
{
8
# j ˙.
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
Vi - ve la com - pa - gnie! Vi - ve la, vi - ve la, vi - ve l'a - mour
# œœ.. œœ..
& œœ.. œœœ.. œœ.. œœ.. œœ.. œœ..
. œ. œ. œ. œ.
œ. œ.
? # œœ.. œ.
œœ.. œœ..
œ œ. œ
œ
{
68
œ J J
12
#
& œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ
vi - ve la vi - ve la vi - ve l'a - mour, Vi - ve la vi - ve la
#
& œœ.. œœœ.. œœ.. œœ.. œœ.. œœ..
. œ. œ. œ. œœ..
œ œ. œ
?# œ œ œ. œ J
{ J œ J

15
# j
& œ œ œ œ. œ œ œ œ œ œ. œ
vi - ve l'a - mour, Vi - ve la com - pa - gnie!
#
& œœœ... œœ.. œœœ.. œœœ.. œœ.. œœ..
œ. . . œ. œ.
œ. œ œ .
?#
{ œ
œ œ J œ œ
J œ J

69
 A Very Old Tune
Anonymous
Arr. by Lois Veenhoven Guderian
Dolce (e = ca.108-112)
° #6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj
Soprano Recorder I & 8 J
mf

#6 j
Soprano Recorder II ¢& 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj
mf

#6 œ œ œ œ j
& 8 œœ œœ œœ œœ œœ œœœ œœ œœ œ œ œœ œœœ œ œœ œœ œœj
œ œ œ œœ œœ œ œ œ œœ
Piano mf
? # 68 ˙. ˙. œ. œ œ
{ J

4
° # œ œ œ œ œ œ œ œ œ œ œ œj
& ˙. œœœ œ
J

# j
¢& ˙. œœœ œ œ œ œ œ œ œ œ œ œ œ œ œj

# j
& œœ.. œœ.. œœ œœ œœ œœœ œœ œœœ œœ œœ œ œ œœ œœœ œ œœ œœ œœj
œ. œ. œœœ œ œ œ œœ œœ œ œœ œ œ œœ

? # œ. œ. ˙. ˙. œ. œ œ
{
70
J
8
° # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ. œ J J J J

# j j
¢& œ. œ œ
j œ œ œ œ œ œ œ œ œ œ œ œJ œ œ œ

# œ œœ j œ œ j œ œ œœ œ œ œ
& œœ.. œœ J œœ œœ œ œ œœ œœ œœ œ œ œ œ œ œ œœ
œ. œ J
œœ.. œœ.. œœ.. œœ.. œ. œœ..
? # œ. œ. œ.
{
12
° # œ. œœœœ œ œ œ œ œ œ œ œ œ œ œ œj ˙.
& œ. J

# j
œ œ œ œ œ œ œ œ œ œ œ œj
¢& œ. œ. œœœ œ ˙.

# œ. j œœœ œœ œœ œ œ œœ œœœ œ œœ œœ j
& œœ.. œœœ... œœ œœ œœ œœœ œœœ œ œ œœ œœ œ œœ œœœ œœ. œœ.
œœœ œ.. œ..
œ. œ œ ˙.
? # œ. œ. œ. œ. œ. œ. œ. œ œ
{ J
71
 Jolly Old Saint Nicholas
Anonymous
Arr. by Lois Veenhoven Guderian
Vivace (q = ca. 96-108)
# 2 œ.
Soprano Recorder & 4 œ. œ. œ. œ. œ. œ
mp
Jol - ly old Saint Ni - cho - las,
#2 œ
& 4 œ. œœ œœ œ œœ œœ œœ
. . œ. . . .
Piano p.
œ œ.
? # 42 œ Œ œ Œ
{
3
#
& œ. œ. œ. œ. ˙
œ. œ. œ. œ.
Lean your ear this way! Don’t you tell a

#
& œœ œœ œœ œ œœ œœ œœ œœ œœ œœ
. . . œ. . . . . . . œ.
.
œ
?# œ Œ #œœ Œ œ. Œ
{ œ
.

6
#
& œ œ œ. œ. œ. œ. ˙
. œ.
sin - gle soul What I’m going to say;

#œ
& œ. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
. . œ. . . . . . . . .
œœ. œœ. œœ.
?# Œ Œ Œ
{
72
9
# .
& œ œ. œ. œ. œ. œ. œ œ. œ. œ. œ. ˙
Christ - mas Eve will soon be here, Now, you dear old man,
#
& œœ. œœ
.
œœ œ
œ.
œœ
.
œœ œœ
. œœ œœ œœ œ œœ œœ œœ
. . .
. . . . . œ.
œœ. œœ. œœ.
?# Œ Œ Œ #œœ Œ
{ .

13
#
& œ œ. œ. œ. œ. œ. œ œ. œ. œ. œ. ˙
.
Whis - per what you’ll bring to me. Tell me if you can.
# œœ œœ œœ
& œœ œœ œœ œ œœ œœ œ œœ œœ œœ œœ
. . . . . . . œ. . . œ. . . . .
œœ. œ. œœ. œœ.
? # œœ. Œ Œ œ Œ
{

73
 Camptown Races
Music and words by Stephen Foster (1826-1864)
Arr. by Lois Veenhoven Guderian
Giocoso (q = ca. 80-100)

Soprano Recorder
2
&4 Œ ‰ œj œ œ œ œ œ
mf
œ œ
The Camp - town la - dies sing this song,
2
&4 Œ ‰ œj œ œ
œ œ œ œ œ œ
Piano mf
œœ œœ œœ
{ ? 42 ∑ œ œ œ œ œœ
Left hand sempre staccato

4
j
& œj œ. œ
j
œ œ œ œ œ œ œ œ œ
Doo - dah! Doo - dah! The Camp - town race - track five miles long,
j
& œj œ. œ
j
œ œ œ œ œ œ œ œ œ œ
? œœ œœ œœ œœ œ œœ
œ
œœ
œ
œœ œ
œ œ
{ œ œ œ œ

& œ ˙
œ œ ˙ œ œ œ œ œ
Oh! doo - dah day! They’re gon - na run all night,

& œ œ œ œ ˙
œ ˙ œ œ œ
? œ œœ œ
œ œœ œ œœ
œœ
œ œœ œ œœ œ œœ
{ œ œ œ

74
12

& œ œ œ œ œ œ. œ œ œ œ œ œ œ œ
They’re gon - na run all day. I will bet my mon - ey on the

& œ œ œ ˙ œ œ œ œ œ
œœ œ
œ œœ œ œœ
? œ œœ œœ
{ œ œ œ œ

15

& œ œ œ œ œ œ œ œ œ ˙
bob - tail nag, Some - bod - y bet on the bay.

& œ œ œ
œ œ œ œ œ œ œ œ
? œ œœ œœ œœ œœ œœ
{ œ œ œ œ
œ

Original Lyrics:

De Camptown ladies sing dis song, Doodah, doodah!

De Camptown racetrack five miles long, Oh! doodah day!
I come down dah wid my hat caved in, Doodah, doodah!
I go back home wid a pocket full of tin, Oh! doodah day!
Gwine to run all night! Gwine to run all day!
I’ll bet my money on the bobtail nag, Somebody bet on the bay.

75
 Little David Play on Your Harp
Traditional lyrics African American Spiritual
Arr. by Lois Veenhoven Guderian
Vivace (q = ca. 88-96)
2 j œj œ
& b 4 ‰ œ œ œ œ œj œ j œ
Soprano Recorder
mf
œ œj œ œ J
Lit - tle Da - vid play on your harp, Hal - le - lu, hal - le -

b 2‰ œ œ j j j jœ œ
& 4 œ œ œ œ œ œj œ œ œ J
Piano mf
? b 42 œœ œœ œœ œœ œœ œœ œœ œœ
{
5
j j
&b œ œ œ œ œ œ œ œ
j j
œ œ œ ˙
lu! Lit - tle Da - vid play on your harp, hal - le lu.

j j
&b œ œ œ œ œ œ œ œ
j
œ
j œ œ ˙
? b œœ œœ œœ œœ œœ œœ œœ œœ
{
9
j j œj œ œ
&b ‰ œ œ œ œ œ œ j j œ
œ œ œ J
Lit - tle Da - vid play on your harp hal - le - lu, hal - le -

j j œj œ œ
&b ‰ œ œ œ œ œ œ j j œ
œ œ œ J
? b œœ œœ œœ œœ œœ œœ œœ œœ
{
76
13 Fine
j j
&b œ œ œ œ œ œ œ œ
j
œ
j œ œ ˙
lu! Lit - le Da - vid play on your harp, hal - le - lu.

j j
&b œ œ œ œ œ œ œ œ
j j œ œ ˙
œ
? b œœ œœ œœ œœ œœ œœ œœ œœ
{
17
œ œ œ œ œ. j œ œ œ
&b Œ ‰ œ
f
Lit - tle Da - vid was a shep - herd boy.

œ œ œœœ œœ œœœ.. j œœœ œœ œœœ

&b Œ ‰ œ . œ œ
f
œœœ œœ ˙˙˙ œœœ œœ œœœ
? b œœ.. ‰ œ œ
{
21 D.C. al fine
œ œ
& b œ. œ
J
œ œ œ œ œ œ œ
He killed Go - li - ath and shout - ed for joy.

œ œœ
& b œœœ... œ
J œ œœ œœ œœ œ œ œœ
œ
? b ˙˙˙
œœ œœ œœ œ œœ
œ œ
{ 77
 Fancy Skip Blues
Music by Lois Veenhoven Guderian
In a relaxed manner (q = ca. 84-100)

Soprano Recorder
4
& 4 bœ.nœ ˙. bœ. œ ˙. bœ. nœ ˙.
p
Fan - cy skip* 3 4 Fan - cy skip 3 4 Fan - cy skip 3 4
4
& 4 bœ.nœ ˙. bœ. œ ˙. bœ. nœ ˙.
Piano p
? 44 œ œ œœ œœ œ œ œ œœ œ œ œ
{ œ œ œœ œ œ œ œ œ œ

& w bœ. nœ ˙. bœ. œ ˙. bœ.nœ ˙.

mp
1 2 3 4 Fan - cy skip(etc.)

& w bœ. nœ ˙. bœ. œ ˙. bœ.nœ ˙.

mp
? œ œ œ œ œœ œ bœ œ œœ œ bœ œ œ œ œ œ
{ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

8
œ. œ ˙. œ. œ ˙. bœ.nœ ˙.
& w w
mf
œ. œ ˙. œ. œ ˙. bœ.nœ ˙. nw
& w w
mf
? œ œ œ œ œœ nœœ œœ œœ œœ œ bœ œ
œ œ œ œœ œ œ œ ˙˙
{ œ œ œ œ œ œ œ
˙
* Speak the words “Fancy Skip” and count aloud to learn the rhythm of Fancy Skip Blues more quickly.

78
 Dream *
Music by Lois Veenhoven Guderian
Dreamily (e= ca. 96-100)
6 j j
Soprano Recorder & 8 œ œ œ #œ œ #œ œ œ.
mp
6
& 8 #œ œ œ œ œ œ #œ œ œ œ œ œ
Piano mp
˙. ˙.
? 68
{ With pedal

3
œ œ œ œ œ ˙. j
& J œ œ œ #œ œ

& ##œœ œ œœ œœ œ œœ ##œœ œ œœ œœ œ œœ #œœ œ œœ œœ œ œœ

˙. ˙. #˙.
?
{
6 Fine
j œ œ œ œ œ ˙.
& #œ œ œ. J

& ##œœ œ œœ œœ œ œœ #œœ œ œœ œœ œ œœ ##œœ œ œœ œœ œ œœ

. ˙.
? ˙ #˙.
{
* Dream is written using the C whole tone scale

79
9

& ∑ ∑
œ œ œ œ œ œ

& #œ #œ #œ œ œ œ ∑ #œ #œ #œ œ œ œ

? ∑ ∑ ∑
{
12

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
& ∑ #œ #œ #œ œ œ œ #œ œ

? ∑ ∑ ∑
{
15 D.C. al fine
œ œ œ j j j ‰ ‰ j ‰ ‰
& œ œ œœ œ œ œ œ œ
œ œ œ ###œœœ œœœ œœœ œœœ ###œœœ ‰ ‰ œœœ ‰ ‰
& #œ #œ #œ J J J J

? ∑ ∑ ∑
{
79
 Battle Hymn of the Republic
Words by Julia Ward Howe Traditional tune
Arr. by Lois Veenhoven Guderian
Maestoso (q = ca. 60-72)
° 4Ó ‰ œj œ. œ
Soprano Recorder
Part I &4 Œ œ. œ œ. œ œ. œ
mf
Mine eyes have seen the glo - ry of the
Soprano Recorder 4 Œ ‰ œj œ. œ
Part II ¢& 4 Ó œ. œ œ. œ œ. œ
mf
4
&4 Ó Œ ‰ œœj œœ.. œœ œœ.. œœ œœ.. œœ œœ.. œœ
Piano mf
? 44 ∑ œœ œœ œœ œœ
{
3
° œ. œ œ. œ œ œ. œ œ.
& œ œ. œ œ. œ œ. œ
com - ing of the Lord; He is tram - pling out the vin - tage where the

œ œ. œ œ. œ œ.
¢& œ . œ œ. œ œ œ. œ œ. œ
œ. œ œ. œ œ œœ.. œœ œ. œœ.. #œœ œœ..
& œ. œ œ. œ œ œ. œœ œœ.. œœ œœ
œ œ œ œ œ
? œœ œœ œœ œ œ œ œ œ
{
5
°
& œ. œ œ. œ œ œ. œ œ. œ œ. œ œ œ œ œ
grapes of wrath are stored; He hath loosed the fate - ful light - ning of his

¢& œ . œ œ . œ œ œ. œ œ. œ œ. œ œ œ œ œ
& œœ.. œœ œœ.. œœ œœ œœ.. œœ œœ.. œœ œœ.. œœ œœ œœ œœ œœ
? œœ œœ œœ
œ œ œ
œœ œœ
{
81
 7
° œ. œ œ. œ œ œ œ œ œ w
& œ
ter - ri - ble swift sword; His truth is march - ing on.

¢& œ . œ œ . œ œ œ œ œ œ œ w
œ. œ œ.
& œ. œ œ. œœ œ
œ
œœ œ
œ
œ
œ
œ
œ
œœ w
w
œ œœ œœ œœ
? œ œœ œ œ œœ œœ.. œœ ˙˙
{ œ

10
° j œ œ. œ ˙ ˙ œ œ. œ œ. œ ˙
& œ. œ œ. œ. ˙
J
Glo - ry! glo - ry, hal - le - lu - jah! Glo - ry! glo - ry, hal - le - lu - jah!
j j
¢& œ . œ œ. œ œ. œ ˙ ˙ œ. œ œ. œ œ. œ ˙ ˙
˙ j
& œœ.. œœj œœ.. œœ œœ.. œœ ˙ ˙
˙ œœ.. œœ œœ.. #œœ œœ.. œœ ˙˙ ˙
˙
? œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
{ œ œ œ œ œœ œœ

14
° j œ. œ ˙ œ œ œ œ œ w
& œ. œ œ. œ œ
Glo - ry! glo - ry, hal - le - lu - jah! His truth is march - ing on.
j
¢& œ . œ œ. œ œ. œ ˙ œ œ œ œ œ œ w
˙
& œœ.. œœj œœ.. œœ œœ.. œœ ˙ œ œœ œ œ œ œœ w
œ œ œ œ w
œœ
? œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ.. œœ ˙˙
{
82
 Sur le Pont d’Avignon
(On the Bridge of Avignon)
French folk song
Arr. by Lois Veenhoven Guderian
Giocoso (q = ca. 120-138)
4 . . œ. œ. ˙ œ œ œ œ
Soprano Recorder &4 œ œ ˙
mf
Sur le pont d’Av - ig - non, L’on y dan - se,
4 œ œ ˙ œ œ œœ œ
& 4 œœ œœ ˙
˙ œ. œ. ˙ œ
. .
Piano mf
œ. œ. œ. œ. œ. ˙ ˙
? 44 œ œ. œ.
{ .

4 Fine
œ . . œ. œ. ˙ œ œ œ œ œ. œ. ˙
& œ œ œ œ œ ˙
L’on y dan - se, Sur le pont d’Av - ig - non, L’on y dan - se tout en rond.

œ œ œ ˙ œ œ œœ œ œ œ. ˙
& œœ œ œ œ œœ œœ ˙
˙ œ. œ. ˙ œ. ˙
. .
˙ œ. œ. œ. œ. œ. œ. œ. ˙ ˙ ˙
? ˙ œ.
˙
{
9 D.C. al fine
. . œ.
œ œ. œ. ˙ ˙ œ. œ. œ. œ. ˙ ˙ ..
& .
Les mes - sieurs font comm’ ci, Et puis en - core comm’ ca.
Les mes - dammes font comm’ ci, Et puis en - core comm’ ca.

˙ ˙
& .. œœœ œœœ œœ
œ.
œœ
œ. ˙
˙
˙
œœ
œ.
œœ
œ.
œœ
œ.
œœ
œ. ˙
˙
˙
..
. .
. œ.
œ œ. œ. œ. œ. œ. œ. ˙
? .. ˙ ˙ ..
{ ˙

83
 Tripleting Along

Allegro (q = ca. 80) Music by Lois Veenhoven Guderian

3 3 3 3
4
Soprano Recorder &b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
mf

4
& b 4 œœ œœ œœ œœ œœ œœ œœ œœ
Piano mf

? b 44 œœ
œœ œœ œœ œœ œœ œœ œœ
{
3 3 3 Fine
3 3 3 3
&b œ œ œ œ œ œ œ œ œœœœœœœ œ œ œ
œœœœœœ
3 3
& b œœ œœ œœ œœ œœ œœ œ œ œ œœ
œœœœœœœ
? b œœ
œœ œœ œœ œœ œœ œœ œœ œ œœ œœ
œœ
{ nœ

6 3
D.C. al fine
3 3
& b œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ bœ
3 3 3
3 3
3 3
& b œœ nœ œ œ œ œ œœ œœ œ œ œ œ œ œ œœ œœ œœ œ œ nœœ œ œ œœ bœœ
3
œ œ œœ œœ 3 œ œ
?b œ œ œœ œœ œœ œ œœ œœ
{ nœ œ œ

84
 Silent Night / Stille Nacht
Words by Joseph Mohr
Translation from Carols for Christmastide (1859) Music by Franz Gruber
Edited by J. Freeman Young Arr. by Lois Veenhoven Guderian
Andante (e= ca. 88-100)
° 6 .
Soprano Recorder
Descant Part & 8 œ. œ. œ. œ. œ œ œ
(Optional) p
J
Soprano Recorder 6 œ œ œ.
and singers & 8 œ. œ œ œ. œ. œ œ œ. J
Part I p
Stil le Nacht, hei - li - ge Nacht, al - les schäft,
Soprano Recorder 6 j
and Alto singers & 8 œ. œ œ œ.
Part II (Optional) p
œ. œ œ œ.
œ œ œ.
Si lent night, Ho ly night,
All is calm,
Alto Recorder Part II 6 œ. œ œ œ. œ. œ œ œ.
œ œ œ.
(Double or use ¢ & 8 J
instead of Soprano p
Recorder Part II)
6 œ œ j
&8 œœ.. œœ œœ œœ.. œœ.. œœ œœ œœ.. œ œ œœ..
Piano (Optional) p

{ ? 68 œœ œ œœœ œœ œ œœœ œœœ œœœ

4
° œ. œ. œ. œ.
& œ. œ œ œ
j
& œ œ œ.
J œ œ œ. œ œ œ. œ œ œ.
ein - sam wacht, nur das trau - te, hoch hei - le - ge Paar.
j j
& œ œ œ. œ œ œ. œ œ œ. œ œ œ.
all is bright, ’Round yon œ
œ œ œ. œ œ Vir. œ gin
œ Moth
œ.
- er and Child,
œ œ œ.
¢& J J
j j
& œœ œ
œ œœ.. œœ œœ œœ.. œœ œœ œœ.. œœ œœ œœ..
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
{ œ œ œ
85
 7
° œ. œ. œ.
& œ œ œ œ œ œ œ.
j
œ œ. œ œ œ. œ œ œ. œ œ
& œ œ œ œ. J
Hol - der Kna - be in lok - ki - gen Haar, Schlaf’ in himm - li - scher
j j
& œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ
Ho ly In
œ -
œ œ. - fant
œ soœ ten - der and mild,
œ. œ œ œ.
Sleep in heav - en - ly
œ œ œ. œ œ
¢& J J

& œœ
j
œœ œœ.. œœ œœ œ..
œœ œœ œ. œ œ œ œj œœ..
œ œ. œ œ œ
? œ œ œ œ œ œ œ œ œ œ œ œ œ
{ œ œ œ œ œ

10
° œ œ œ.
& œ œ œ œ œ. ˙.

œ.
& œ. œ œ
œ œ. œ œ ˙.
Ruh’! Schlaf’ in himm - le - scher Ruh’!

& œ. œ. œ j
œ œ. œ œ ˙.
peace, Sleep in heav - en - ly peace.
œ. œ. œ ˙.
& œ œ. œ œ
¢ J
œ.
& œœ.. œ. œ œ
œ œœ œœ.. œ œ ˙.
? œ œ œ œ œ œ œ.
{ œ œ œ œ œ œ œ œ œ

86
 Jingle Bells
(Use Soprano Recorder I with or after Lesson I.)
Music by James Pierpont
Arr. by Lois Veenhoven Guderian
Vivace (q = ca. 100-112)
° #4 œ œ ˙
Soprano Recorder I & 4 œ œ ˙ œ œ œ œ

#4
Soprano Recorder II ¢ 4œ œ ˙
& œ œ ˙ œ œ œ œ

#4 œ œ ˙
& 4 œœ œœ ˙˙ œœ œœ ˙˙ œœ œœœ œ œ
œ œ ˙ œ œ
Piano

? # 44 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 œ œ œœœ œœ œœ œœ ˙˙
& w œœ œœ œœ œœ
w œ œ œ œ œ ˙ œ œ œ œ

?# œ œ œ œ œ œ œ œ œ
{ œ œ œ œ œ œ œ

87
 8
° #
& ˙ ˙ œ œ ˙ œ œ ˙ œ œ œ œ

# ˙
¢& ˙ œ œ ˙ œ œ ˙ œ œ œ œ

# ˙˙
& ˙˙˙ ˙ œœ œœ ˙˙ œœ œœ ˙˙ œœ œœœ œ œ
œ œ ˙ œ œ ˙ œ œ

?# ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ
{
12
° #˙
& ˙ œ œ œ œ œ œ ˙ œ œ œ œ ˙ ˙

# œ œ œ œ œ œ ˙ œ œ œ œ ˙
¢& ˙ ˙ ˙

# œ œ œœœ œœ œœ œœ ˙˙ œœ œœ œœ œ ˙
& ww
w 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 ˙˙ ˙˙
{
88
 Lully, Lullay
(Use with or after Lesson II.)
Anonymous
Arr. by Lois Veenhoven Guderian
Espressione (q = ca. 60)
3 ˙.
Soprano Recorder &4 œ œ œ ˙ œ ˙ œ
3 œ ˙˙
& 4 œœ œœ #œœ ˙˙ œ ˙
œœœ #˙˙ œœ
mp
Piano Lul - ly, lul - lay, thou ti - ny child,

? 43 œœ œœ œœ
˙˙ œœ ˙˙ œœ ˙˙..
{
5

& œ œ œ ˙ œ ˙. ˙ œ ˙ œ ˙ œ
˙˙ œœ ˙˙
& œœ #œœœ œœœ ˙ #œœœ ˙˙.. ˙˙ œœ ˙˙ œœ
By, by, lul - ly, lul - lay, lul - lay, thou lit - tle
˙˙.. œœ ˙˙.. ˙˙
? œœ œœ œœ ˙˙ œ
˙˙ œ
{
11

& ˙ œ ˙. œ œ œ ˙ œ ˙. ˙.
˙˙ #˙˙.. #˙˙..
& ˙˙˙ œœœ #˙˙.. œœ #œœ œœ ˙ #œœœ ˙. ˙.
ti - ny child, By, by, lul - ly, lul - lay.
˙˙.. œœ œ œœ œœ ˙. ˙.
? ˙˙ œœ œ ˙˙
{ ˙.
89
 Nocturne
(Use Soprano Recorder I with or after Lesson III)

Music by Lois Veenhoven Guderian

Dolce (q = ca. 108-112)
° #4 ˙ ˙
Soprano Recorder I & 4 w ˙ ˙
#4
Soprano Recorder II & 4 œ œ
œ œ w ˙ ˙
#4
Soprano Recorder III & 4 ˙ ˙ ˙
w ˙
#4 ˙. œ
Soprano Recorder IV ¢& 4 ˙ w
˙
#4 ˙. œ
& 4 ˙˙ w
w ˙˙.. œœ
˙ ˙˙ w
Piano
? # 44 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 ˙ ˙ ˙
¢&
# œœ œœ ˙˙ ˙˙ œœ œœ œœ œœ ˙˙ ˙˙ ˙˙
& œ ˙ ˙ œ œ œ œ ˙ ˙ ˙
œ œ œ œ œ œ œ œ
?#
œ œ
{ œ œ œ œ œ
œ
90
8
° #
& w ˙ ˙ w ˙ ˙ œ œ ˙
#
& w œ œ
œ œ w ˙ ˙ œ œ ˙
#
& w ˙ ˙ w ˙ ˙ œ œ ˙
# w ˙ ˙ ˙. œ œ œ ˙
¢& w
#w ˙. œ œ œ ˙
& w ˙˙ w
w ˙˙.. œœ œœ œœ ˙˙
w ˙˙ ˙ w
?# œ œ œ œ œ œ ˙ œ œ
œ
œ
{ œ œ œ œ œ œ œ œ

13
° #
& ˙ œ œ œ œ ˙ ˙ œ œ w
# ˙ œ œ œ œ ˙
& ˙ œ œ w
#
& ˙ œ œ œ œ ˙ ˙ œ œ w
# ˙ œ œ œ œ ˙ ˙ œ œ
¢& w
# ˙˙ œœ œœ œœ œœ ˙˙˙ ˙˙ œœ œœ
& ˙ œ œ œ œ ˙ œ œ w
w
w
?# œ œ œ œ œ œ œ œ
œ
˙
{ œ œ œ œ œ
91
 Go Tell Aunt Rhodie
(Use with or after Lesson IV.)
Traditional American folk song
Arr. by Lois Veenhoven Guderian
Vivace (q = ca. 120-138)
#4 ˙
Soprano Recorder & 4 œ œ ˙ ˙
Go tell Aunt Rho - die.
#4 ˙
& 4 œ œ ˙ ˙
Piano
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? # 44 œ
{
3
# œ ˙ œ œ
& ˙ œ œ œ ˙
Go tell Aunt Rho die. Go tell Aunt
# œ ˙ œ œ
& ˙ œ œ œ ˙
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?# œ œ
{
6
#˙
& œ œ œ œ œ œ w
Rho - die the old gray goose is dead.
#˙
& œ œ œ œ œ œ w
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?# œ œ œ œ œ œ œ œ
{
92
9
#
& ˙ œ œ œ œ œ œ ˙ ˙ œ œ œ œ

#˙
& ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙

?# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
{ œ œ œ œ œ
œ
œ

12
#œ ˙ œ œ œ œ
& œ ˙

#˙ ˙˙ ˙˙
& ˙ ˙
˙

?# œ œ œ œ œ œ œ œ œ œ œ œ
{ œ œ œ œ

14
#œ œ
& œ œ œ œ œ œ œ œ ˙

#
& ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙

?# œ œ œ œ œ œ œ œ œ œ œ œ œ
{ œ œ œ œ œ œ œ œ œ œ
93
 Du Liegst Mir Im Herzen
(Use with or after Lesson IV.)
Traditional German folk song
Arr. by Lois Veenhoven Guderian
Giocoso (q = ca. 120-138)
#3
Soprano Recorder & 4 ∑ ∑ ∑ ∑

#3
& 4 ∑ ∑ ∑ ∑
Piano
œœ œœ œœ œœ
œ œœ œœ
œœ œœ
? # 43 œ œ œ
{
5
# ˙. ˙. œ ˙ œ
& œ œ ˙.
Du, du, liegst mir im Her - zen, du,
# ˙ œ
& ˙˙.. ˙˙.. œœ œ œœ ˙ œ ˙˙..

œ œ œœ œœ œœ œœ œœ œœ œœ œœ
?# œ œ œ œ œ œ œ
{
10
#
& ˙. œ œ œ ˙. ˙. ˙.
du, liegst mir im Sinn, du, du,
#
& ˙˙.. œœ œœ œœ ˙˙.. ˙˙.. ˙˙..

œ œœ œœ œ œœ œœ
œœ œœ
? # œ œœ œœ
œœ œœ
{ œ œ

94
15
# ˙ œ œ œ
& œ œ œ œ œ œ œ
machst mir viel Schmer - zen, weißt nicht, wie gut ich dir
#œ ˙ œœ œœ œ œ
& œ œ œœ ˙ œœ œœ œ œ œ
œœ œœ œœ œœ œœ œœ œœ œœ
?# œ œ œ œ
{
19
# ˙. ˙.
& ˙. ˙. ˙.
bin. Ja, ja, ja,
# ˙. ˙˙.. ˙˙..
& ˙. ˙. ˙.

œ œ œ œœ œœ œ œ
?# œ œ œ œ œ œ œ
{ œ œ œ

24
#
& ˙. œ œ œ œ œ œ ˙. œ Œ Œ
ja. Weißt nicht, wie gut ich dir bin.
# ˙˙.. œ œ
& œœ œœ œœ œ œ œ ˙. œ Œ Œ

?# œ œ œ
œœ œœ
œ
œœ œœ œ œœ œœ œ Œ Œ
{ œ
95
 Dance for Leila
(Use with or after Lesson V.)

Music by Lois Veenhoven Guderian

Vivace (q = ca. 120-138)
3
&4 œ œ œ œ œ
Soprano Recorder
œ œ œ œ œ œ œ œ œ
f

3
&4 œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
Piano f
œ œ œ œ œ #œ œ œ œ œ œ
? 43 œ
{
5

& œ œ œ œ œ
œ œ œ œ œ œ ˙.
p

& œ œ œ œ œ œ œ œ œ œ œ ˙.
p
œ œ œ œ œ œ œ œ
? œ œ #œ œ
{
9
œ œ œ œ œ œ
& œ œ œ œ œ œ
f p

œ œ œ œ œ œ
& œ œ œ œ œ œ
f p
œ œ œ œ œ œ œ œ
? #œ œ #œ œ
{
96
13
œ œ œ œ œ ˙.
& œ œ œ œ
f

œ œ œ œ œ ˙.
& œ œ œ œ
f
œ œ œ œ œ œ œ œ œ œ œ œ
? #œ œ
{
17

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
? œ œ #œ œ
{
21

& œ œ œ œ œ
œ œ œ œ œ œ ˙.
p f

& œ œ œ œ œ
œ œ œ œ œ œ ˙.
p f
œ œ œ œ œ œ ˙˙˙...
? œ œ #œ
{ 97
 A Little Warbling Song
(Use Soprano Recorder I with or after Lesson VI.)
Music by R. Schumann (1810-1856)
Arr. by Lois Veenhoven Guderian
Nicht Schnell (not fast) (q = ca.76-84)
° 4
Soprano Recorder I &4 œ œ œ œ œ œ ˙ œ œ œ œ
mf

4œœ œ œ œ œ ˙ œ œ œ œ
Soprano Recorder II ¢ 4
&
mf

4œœ œ œ œ œ ˙ œ œ œ œ
&4
Piano mf

4
{& 4 œœ 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 œ œ

& œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ
¢

œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ
&

{
98
& 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
8
° œ œ œ ˙
& ˙ œ œ œ
˙
˙
¢& ˙ œ œ œ œ œ œ ˙

& ˙ ˙ œ œ œ œ
œ œ œ œ
œ œ œ œ œ œ #œ œ

? œ #œ œ œ œ œ ˙
{
&
œ
œ
œ œ ˙˙
11
° œ œ œ œ
& œ œ œ œ œ œ œ œ

¢& œ œ œ œ œ œ œ œ œ œ œ œ

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? œ #œ œ œ #œ œ œ œ œ #œ œ œ
{
14
° œ œ œ œ œ œ œ
& œ ˙ ˙

œ œ œ œ œ
¢& œ œ œ ˙ ˙
œ
& œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ #˙˙ ˙˙
? œ œ œ œ œ œ œ œ ˙
˙
˙˙
{ 99
 From Heav’n Above to Earth I Come
(Use with or after Lesson VII.)
Music and words by Martin Luther
Arr. by Lois Veenhoven Guderian
Joyfully (q = ca. 120-138)
4 U
Soprano Recorder &4 œ œ œ œ œ œ œ œ œ
mf
From heav’n a - bove to earth I come To

4 U
& 4 œœ œœ œœ œœ œœ œœ œœ œ œ
œ œ
Piano mf
œœ œœ œœ œœ œœ œœ
? 44 œœ œ œ
{ œ œ

3
U
& œ œ œ œ œ œ œ œ œ œ œ œ
bear good news to ev’ - ry home; Glad tid - ings of great
U
& œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ

? œ œ œ œ œœ œ œ œ œ œœ œ œœ œœ
{ œ

6
U U
& œ œ œ œ œ œ œ œ œ œ œ œ
œ
joy I bring, Where - of I now will say and sing.
U U
œ
& œ #œœ œœ œ œœ œœ œœ œœ œ œœ œ œ
œ œ œ œ
œ œ œ
? œœ
œœ œœ œœ œ œ œœ œ œ œœ
{ œ œ

100
 Alouette
(Use with or after Lesson VIII.)
Traditional French folk song
Arr. by Lois Veenhoven Guderian
Vivace (q = ca. 120-138)
#4 j
Soprano Recorder & 4 œ. œ œ œ œ œ œ œ œ
mf
œ
A - lou - et - te, gen - tille A - lou - et - te,
#4 j
& 4 œ. œ œ œ œ œ œ œ œ Œ
Piano mf
œ œ œ œ œ œ œ œ
? # 44 œ. J
œ
{
3
# j
& œ. œ œ œ œ œ œ œ ˙
A - lou - et - te Je te plu - me - rai.

# j
& œ. œ œ œ œ œ œ œ ˙
œ œ œ œ œ œ
? # œ. J
œ ˙
{
5
# œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ
Je te plu - me - rai la tete, Je te plu - me - rai la tete,
# œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ
˙ œœœ œœœ œœœ ˙˙˙ œœœ œœœ œœœ
?# ˙
{ 101
 7
#
& œ
œ œ œ œ œ œ
œ œ œ
Et la tete, Et la tete. Oh!

#œ œ œ œ œ
& Ó œ œ
œ œ œ œ œ œ œ
?# Ó
{
9 j
#
& œ. œ œ œ œ œ œ œ œ œ
A - lou - et - te gen - tille A - lou - et - te,

# j œ œ œ Œ
& œ. œ œ œ œ œ
œ œ œ œ œ œ œ
? # œ. J
œ œ
{
11
# j
& œ. œ œ œ œ œ œ œ ˙
A - lou - et - te, Je te plu - me - rai.

# j
& œ. œ œ œ œ œ œ œ ˙
œ œ œ œ œ œ
? # œ. J
œ ˙
{
102
 Pomp and Circumstance
for soprano recorder, piano and optional strings
(Use with or after Lesson IX.)
Music by Edward Elgar
Arr. by Lois Veenhoven Guderian
Maestoso (q = 80)
#2 ˙
Soprano Recorder & 4 œ œ œ œ œ ˙ ˙
mf
° #2 œ œ ˙ ˙
Violin & 4 œ œ ˙
mf
#2 œ œ œ œ œ ˙ ˙
Viola B 4 ˙
mf
?#2 œ œ œœ œœ œ œ œ œ œœ œœ
Violoncello ¢ 4 œ œ œ œ œ œ
mf
#2
& 4 œœ œœ
œ œ œœ œ œœ ˙˙ ˙˙ ˙
Piano mf
?#2 œœ œœ œœ œœ œ œ œ œ œœ œœ
6
#œ œ œ
{ 4 œ œ œ œ

& ˙ ˙ ˙ œ œ ˙ ˙
° #œ œ œ ˙ ˙ ˙
& ˙ ˙ ˙
˙
B# œ œ œ ˙ ˙ ˙ #œ œ œ
J ˙
J
? # œœ œœ #œœ œœ œœ œœ œœ œœ œœ œœ œ œ œœ œœ
¢ œ œ
# j
& j œ ˙˙
œ œ œœ ˙ ˙ ˙˙ # œœœ œ ˙˙
˙
? # œœ œœ #œœ œœ œœ œœ œœ œœ œ œ œ œ œœ œœ
{ œ œ œ œ
103
 13
# j j
& ˙ œ œ œ ˙ ˙ ˙ œ œ œ ˙
° #˙ #˙ ˙ ˙ ˙ œ œ ˙
&
B# ˙ œ œ œ ˙ ˙ ˙ œ œ œ ˙
J J
?# œ œ œ œ œœ œœ œœ œœ œ œ œœ œœ œ œ
¢ œ œ œ œ œ œ
# j j
& ˙˙ œ
# œœ œ œ ˙ ˙˙ ˙˙ œœ œ œœ ˙˙
˙ ˙ ˙
?# œ œ œ œ œœ œœ œœ œœ œ œ
œ œ œœ œœ
{ œ œ œ œ œ œ

20
# ˙ œ œ œ ˙
& ˙ ˙ ˙ œ œ
° #˙ ˙ œ œ œ ˙ #œ œ œ
& ˙ ˙ J J

B# ˙ ˙ œ œ œ ˙ ˙ ˙ #œ œ œ
J
J
? # œœ œœ œœ œœ œœ œœ #œœ œœ œœ œœ œœ œœ œ œ
¢ œ œ
#
& ˙ j œ œj
˙ ˙ œ œ œœ ˙ ˙ ˙˙ # œœ œ
? # œœ œœ œœ œœ œœ œœ œ œ
#œ œ œœ œœ œœ œœ œœ œœ
{
104
27
# ˙ œ œ j
& ˙ ˙ J œ ˙ ˙ ˙
cresc. f
° #˙ ˙ ˙ ˙ œ œ œ nœ ˙
&
cresc. f
˙ ˙ œ œ œ ˙ ˙
B# ˙ J J ˙
cresc. f
?# œ œ œœ œœ œ œ œ œ œœ œœ œ œ œœ œœ
¢ œ œ œ œ
cresc. f
# j j
& ˙˙ ˙˙ œœ œœ œœ œœ œ œœ nœœ
˙˙ œ œ œ œœ œ œ ˙˙
˙ f
?# œ œ œœ œœ œ œ œ œ œœ œœ œ œ œœ œœ
{ œ œ œ œ

34
# j j
& œj œ œ
˙ ˙ ˙ œ œ
J œ ˙ ˙
° #œ œ œ ˙
& J J ˙ ˙ ˙ ˙ ˙
œ œ ˙ ˙ ˙ œ œ œ ˙ ˙
B # œJ J J J

? # œœ œ
œ œ œ
œ œ
œœ œœ œœ œœ œ œ œ œ ˙
¢ œ œ œ œ ˙
# j j j
& œœœ œœœ œœ ˙˙ ˙˙˙ œœ œœ œœj ˙ ˙˙
œ ˙˙ ˙ œ œ œ ˙˙ ˙
? # œœ œœ œ œ œœ œœ œœ œœ œ œ œ œ
{ œ œ
œ œ œ œ ˙
105
 My Country ’Tis of Thee / God Save the Queen
(Use with or after Lesson X.)
American words by S. F. Smith (1808-1895) Traditional European tune
British words attributed to Henry Carey (1740) Arr. by Lois Veenhoven Guderian

Maestoso (q = ca. 112-120)

Soprano Recorder
3
&b 4 œ œ œ
j
œ. œ œ œ œ œ œ. œj œ
mf
My coun - try ’tis of thee, Sweet land of lib - er - ty,
God save our gra - cious Queen, Long live our no - ble Queen,
3
& b 4 œœ œœ œœ
j
œœ.. œœ œœ œœ œœœ œœœ œœ.. œœj œœ
œ œ. œ
Piano mf
? b 43 œœ œ œ œœ.. œœ œœ œ œ œ œ. œ œ
j œ
{ J
5

&b œ œ œ œ œ œ œ. œ œ œ œ œ
˙. J
f
Of thee I sing: Land where my fa - thers died, Land of the
God save the Queen! Send her vic - to - ri - ous, Hap - py and

& b œœ œœ œœ œœœ œœœ œœœ œœœ.. œœj œœ œ œ œ

˙˙.. . œœ œœ œœ
œ œ ˙. f œ
?b œ œ œ œ œ
{ œ œ
œ
œ
œ œ
œ œ œ œ œ œœ
œ œ œ œ œ
10
j œ œ œ
& b œ. œ œ œ œ œ œ œ œ. œ œ œ ˙.
J
pil - grim’s pride, From ev ’ry moun - tain side Let free - dom ring!
glo - ri - ous, Long to reign o - ver us; God save the Queen!
j j œœ œ œ
b œ .
& œœ.. œ œ œœ œœ œ œ œ œ œœ.. œœ œœ
œ œ œœœ œœœ ˙˙..
˙.
œœ œ œ œ œ œœ..
? b œœ œ
œœ œœ œ œ
œ œ ˙.
{
106
œ œ
J
 March of the Toy Soldiers
(Use with or after Lesson XI.)
Music by Victor Herbert
Arr. by Lois Veenhoven Guderian
Allegro (q = ca. 100-112)
2
Soprano Recorder &4 Œ œ œ œ œ œ œœ œ œ œ œœ œ œ
2 ∑
&4 œœœ Œ ∑ œœœ Œ ∑ œœœ Œ
Piano
? 42 ∑ œœ Œ ∑ œ Œ ∑ œœ Œ
7
{ œ

& œ œ œ #œ nœ œ œ œ œ œ œ œ œ œ œ œ

& œœ Œ œœœ Œ ∑ œœ Œ ∑ œœ Œ
œ œ œ
? œœ Œ œ Œ ∑ œœ Œ ∑ œ Œ
{13
œ
œ
& œ œ œ œ Œ Œ œ Œ Œ œ œ œ œ

& œœœ Œ #œœœœ Œ #œœœœ Œ œœ Œ ∑ œ œ œ

œ œœ
? œ Œ œ Œ œ Œ œ Œ ∑ Œ
{19

& œ œ œ œ œ œ œ œ œ œ œ œ œ #œ nœ œ

& œ Œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ
œ œœ œœ œœ œœ œœ
? œ Œ Œ Œ Œ Œ Œ
{
107
 25

& œj ‰ œ œ œ œ œ 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 œœ œœ œ
? œœ œœ
{ Œ Œ Œ œ Œ œ Œ œ Œ
31

& œ Œ œ Œ Œ œ œ œ œ œ œ œ œ œ

& #œ œ œ œ œ œ Œ œ Œ œ Œ œœœ Œ
œ # œœ # œœ
œ œœ œœ œ œ œœ
? œ Œ Œ Œ Œ Œ Œ
{ 37
œ œ

& œ œ œ œ œ œ œ œ Œ œ œ
œ œ œ
ΠΠΠj j
& œœœ œœ œ œœ ‰ œœ ‰ œœ Œ œœ Œ
œ # œœ œ #œ œ œ
? œœ Œ œœ Œ œ Œ œœ ‰ œ ‰ œœ Œ œ Œ
{ 43
œ J œJ

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j‰ j‰
& œœ Œ œœ Œ œœ Œ œœœ Œ œœ Œ œœœ œœ
œ œ œ
? œ Œ œ Œ œ Œ œ Œ œ Œ œœ ‰ œj ‰
{
108
J œ
49

& œ œ ˙ œ œ ˙ œ œ œ Œ

œ œ œJ ‰ Œ œ œ
& œœœ Œ Œ œ œ œJ ‰ Œ Œ Œ

? œœ Œ œ œ œJ œ œ œJ ‰ Œ œ œ
{ Œ ‰ Œ Œ Œ
55

& œ Œ œ Œ Œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
& œ œ Œ œœœ Œ œœœ Œ œœœ Œ
œ œ œ œ œ
? Œ ∑ œœ Œ œœ Œ œ Œ
{
61
œ

& œ œ œ œ œ œ œ œ #œ nœ œ œ œ œ œ œ

& œœœ Œ œœ Œ œœ Œ œœœ Œ œœœ Œ œœ Œ

œ œ œ
? œœ Œ œœ Œ œœ Œ œ Œ œ Œ œœ Œ
{
67
œ œ

œ œ œ Œ œ Œ œ œ œ Œ
& œ œ œ œ œ
œœ Œ œ Œ œœ Œ œœ Œ
& œœœ Œ œœ Œ œœ Œ œ œ œ œ
œœ œœ œœ œœœ œ œ
? œœ Œ Œ Œ œ Œ Œ œ Œ
{ 109
 Hatikvah
(Use with or after Lesson XII.)
Melody by Samuel Cohen
Arr. by Lois Veenhoven Guderian
Espressivo (q = ca. 60-80)
4 œ œ œ œ ˙
Soprano Recorder &b 4 œ œ œ œ œ œ
mp

4 œœ œ œœ œ ˙˙
& b 4 œ œ œœ œœ œœœ œœœ
œ œ ˙
Piano
œ
mp
? b 44 œœ œ œ œ œ œ œ œ œ
{ J œ J œ J œ J
J J J J

&b œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ
“” (R.H. up one octave)

& b œœ
œ œ œœ œœ œ œ œ œ ˙ œœ œ œœ œœ œœœ œœœ
#œ œ # œ œ
œœ œœ ˙˙
? j œ œJ œ œ œJ j œ œ œœ œ œ œ œ œ
{ b œ J œ J œ œ œ J J J J

6
œ ˙
&b œ œ œ œ œ œ œ œ œ œ œ œ ˙
<“>
œ ˙
& b œœœ œ œ
# œœœ
˙˙ œ œ œœ œ # œœ œ œœœ œ ˙˙
œ œœ œ ˙
?b œ œ œ œ œ
J œ J j œ œJ œ œ œJ j œ œ œ
{
110
J J œ J œ J œ œ
9
œ œ œ œ œ œ œ ˙ œ œ œ
&b œ œ
loco (return to the normal octave)

œœœ œœ œœ œœ œ œœ œ ˙˙ œœœ œœ œ
&b œ œ œ œ œ œœœ œ œ œ œœ
œœ ˙
œœœ
?b œ œ œœ œœ œ œ œ œ œ œœ œœ œœ
{ œ œ œ

12

&b œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ

& b œœœ œ œœœ œœ ˙˙˙ œœ œœ œ œœ œœ œœ œ œœœ œ œœœ œ œœ

œ œ œ œ œ œ
œ
? b œœ œ
œ œ œ œ œ œ œ œ œ
{ œ œ œ
œ œ œ
œ

15
U
&b œ œ œ œ œ œ œ œ œ ˙
U
& b œœ œ œ œœ œœ
œ œ œ # œœœœ œ œœœœ œ ˙˙˙

?b œ j U
{ œ œ œ œ œ œ œ œ
œ J œ
111
 Ode to Joy
(Use with or after Lesson XII.)
Words by LoisVeenhoven Guderian Music by L.van Beethoven (from Symphony no.9 in D Minor)
(q = ca.100-120) Arr. by Lois Veenhoven Guderian
Joyfully
#4
Soprano Recorder & 4 ∑ ∑
œ œ œ œ œ œ
# 4 œœ œ
œ œ œ œ œ œ
& 4 œ
Piano mf
? # 44 œ. œj œ. œj œ.
j
œ œ. œ
j
{ œ. œ œ. œ œ. œ œ. œ

3
# mf
œ œ œ œ œ œ œ
& œ
Joy - ful, joy - ful sing with glad - ness
#œ œœ œœ œœ œ œ œœ
& œ œ œ œœ

? # œ. œj œ. œj œ.
j
œ œ. œ
j
{ œ. œ œ. œ œ. œ œ. œ

5
# j
& œ œ œ œ œ. œ ˙
Sing in hap - py cheer - ful - ness!
# j
& œœ œœ œœœ œœ œœ.. œœœ ˙˙˙
œ œ œ œ.
? # œ. œj œ. œj œ. œ
j
œ œ
{
112
œ. œ œ. œ œ. œ œ œ
7
# œ œ œ œ
& œ œ œ œ
Share your joy with all a - round you
#œ œœ œœ œ œœ
& œ œœ œ œœ œœ

? # œ. œj œ. œj œ.
j
œ œ. œ
j
{ œ. œ œ. œ œ. œ œ. œ

9
# j
& œ œ œ œ œ. œ ˙
Shin - ing bright in coun - te - nance.
# j
& œœ œœ œœ œœ œœ.. œœ ˙˙
œ œ œ œ œ. œ ˙

? # œ. œj œ. œj œ œ œ œ
{ œ. œ œ. œ œ œ œ œ

11 p
# œ
& œ œ œ œ œ œ œ œ
Prac - tice kind - ness, Truth and good - ness.
# œœ
& œœ œœ œœ œœ œœ œœ œœ œœ
p

? # œ. j j j j
{ œ œ. œ œ. œ œ. œ
œ. œ œ. œ œ. œ œ. œ
113
 13 mf
# œ œ
& œ œ œ œ œ œ œ œ œ œ œ
Make these vir - tues yours in life. 'Tis a priv' - lege

# œœ œœ
& œœ œœ œœ œœ œœ œœ # œœœ œ œœ œœ œœ
mf
? # œ. j
œ #œ. œ
j œ œ ˙ œ. œj œ. œj
{ œ. œ # œ. œ œ ˙ œ. œ œ. œ

16
# œ œ j
& œ œ œ œ œ œ œ. œ œ œ
to help oth - ers Fills us all with thank - ful - ness. With
# œ œ j
& œ œ œœ œœ œœ œœ œœœ œœœ œœœ.. œœ œœ œœ
œ œ . œ œ œ
j j œ. œj œ. œj œ œ
? # œ. œ œ. œ . œ œ
{ œ. œ œ. œ œ œ œ . œ œ œ œ œ

19 f
# ˙ w w
& ˙
thank - ful - ness.
# ˙˙˙ w w
& ˙˙˙ w
w w
w
f
? # œ. j j œ. j œ. j w
{ œ œ. œ œ œ. œ
œ. œ œ. œ œ. œ œ w
114
 There is a Balm in Gilead
(Use with or after Lesson XIII.)
African American Spiritual
Arr. by Lois Veenhoven Guderian
Espressivo (q = ca. 60)
4
Soprano Recorder &b 4 ∑ œ œ œ œ œ. j
p
œ

4 œœ œ œœ œ œ.
&b 4 ∑ œ œ œ. œœ
J
Piano p
? 44 œ œ œ œ
œ
œ œ
œ
œ œ
œ
œ
{b œ œ œ œ

3
j
&b œ œ ˙ œ œ œ. œ œ œ

œ œ ˙˙ œ œ œ. œ œœ œ
&b œ œ œ œ. œ œ
J

? œ œ œ œ
{ bœ œ œ œ œ œ
œ œ
œ œ œ œ

&b ˙ ˙ œ œ œ œ œ. j
œ
˙ ˙ œ œ œ œ œ.
˙ œ œ œ œ œ. œœ
& ˙
b
J

?b œ œ œ œ œ œ
{ œ
œ
œ
œ
œ œ
œ œ œ œ

115
 7
j
&b œ œ ˙ œ œ œ. œ œ œ w
œ œœ ˙˙ œœ œœ œœœ... œœœ œœœœ œœœœ w
œ œ. w
&b J
w
œ œ œ œ œ œ
?b œ œ œ œ œ œ œ œ œ œ
{ 10
œ
œ œ
œ
œ œ œ œ

j j
& b œ œ œ œ œ. œ œ œ ˙.
œ œ œ œ œ.
œ
œ œ œ œ œ œœ œœ ˙˙ œ œ
b
& œ œ œœ œœ œ œ œ œ œ œœ œœ œœ

?b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
{ 13
œ œ œ œ œ œ

&b œ œ œ œ ˙ œ œ œ œ œ.
j œ œ ˙ œ œ
œ
œœ œœ œœ œœ œ.
œ œœ œœ ˙˙
œœ œœ
œ œœ œœ œœ œœ Œ œ.
&b œ œ
J
?b œ œ œ œ œ œ œ œ œ
{ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
16
j
& b œ. œ œ œ ˙ ˙ œ œ œ œ œ. j
œ
œœ.. œœ œœœ œœœ ˙ œœ œœ œœ œœ œ.
J ˙˙˙ ˙˙˙ œ. œ
&b J

?b œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ
œ œ œ
œ œ
{ œ œ œ œ
œ
116
19
j
&b œ œ ˙ œ œ œ. œ œ œ ˙. œ œ
œœœ ˙˙˙ œœœ ˙˙˙˙ ˙˙
˙ ˙˙˙... œœœ
&b
œ œ œ œ œ œ œ
?b œ œ œ œ œ œ œ œ œ
{
22
œ
œ œ
œ œ œ œ
œ

j œ œ œ œ ˙
& b œ. œ œ œ w
œœ.. œ œ. œœ
œ œ.. œœœ œœ.. œ œœ œ œ œœ œœ œœ ˙˙
&b J J œ œœ œœ œœ œ

?b œ œ œ œ œ
œ œ œ
{ œ œ œ œ œ œ œ
œ
œ œ
œ
œ œ
œ
œ œ
25

&b œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙
œ œ œ œœ œœ œœ ˙˙ œ œœ œœ œœ ˙˙
b
& œ œ œœ œœ œœ œ œ

?b œ œ œ œ œ œ
œ œ
{ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
28

&b œ œ œ œ œ œ w w

œ œœ œœ œœ œœ œ w
w
w
w
w
w
b
& œ œ

?b œ œ œ œ
œ œ
œ œ œ œ
œ œ
{ œ œ œ œ
w
117
 Barcarolle
(Use with or after Lesson XIV.)
Music by J. Offenbach
Arr. by Lois Veenhoven Guderian
Espressivo (e = ca. 100-112)
6 j j j
Soprano Recorder & 8 .. œ œ œ œ œ œ œ œ œ
mp

6 j j j
& 8 .. œœ œœ œœ œœ œœ œœ œœ œœ œœ
Piano p
? 68 .. œ œ œ œ œ œ œ œ œ œ
{ With pedal
œ œ

3
j .. .. œ j œ
& œ œ œ œ œ ˙. œ œ J

j j j
& œ œ œ œ .. .. œ œœ œœ œœ
œ œ œ œ œœ ˙˙.. œ

? œ œ œ œ œ œ œ œ . . œ œ œ œ
{ œ œ œ œ . .œ œ

7
œ œ j j ..
& œ J
œ
J
œ œ œ œ ˙.
j j j j
& œœ œœ œœ œœ œœ œœ œœ œœ ˙˙.. ..

{ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
œ œ œ œ
118
10
j
& œ œ œ bœ ˙. œ œ œ bœ œ œ
J
j j ˙
& œœ œœ œœ bœœ ˙.. œ œ œ bœ œ œ
œ œ œ œ œ œ
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
{
13

& ˙. œ œ œ œ ˙. ‰ œ œ œ œ œ
J J
j j
& ˙˙.. #œœ œœ œœ 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
{
17
j j
& œ. œ œ œ. œ œ ˙. Ó.

œ j œ j ‰ ‰
& œ . œ œ
œ .
. œ œ . œ œ œ j
œ. œ # œ. œ œ. œ œ œ œ
? œ œ œ œ œ œ œ œ œ œ Œ. Œ . ‰ œ œ
{
21
œ œ œ œ œ

j j j j
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.

& œœ j j j j
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 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
119
 25
j j j j
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j j j j
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ
{ 28
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 œœ œœ œœ
#˙ œ œ œ
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
{ 32
œ œ œ œ

˙. ‰ œ œ œ œ œ ˙. ‰
& œ œ œ œ œ
˙. ‰ œœ œœ œœ œœ œœ ˙˙..
& #˙. 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
36

& . 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
{
120
œ œ
˙.
 Some Folks Do
(Use with or after Lesson XV.)
Music and words by Stephen Foster (1826-1864)
Arr. by Lois Veenhoven Guderian
Gaily (q = ca. 84-100)
#2 œ ˙
Soprano Recorder & 4 œ œ œ
mf
Some folks like to sigh,
#2 œ ˙˙
& 4 œ œœ œœ œœ
Piano mf
œœ œœ œœ œœ
? # 42 œ œ œ œ
{
3
#œ œ œ œ œ œ œ œ
& œ œ
Some folks do, some folks do; Some folks wish to
#œ œœ
& œ œœ œœ œœ œ œœ œœ œœ œœ

?# œ œœ œœ œ
œœ œœ
œ
œœ œœ
{ œ œ œ

6
# œ. œ œ œ
& œ œ ˙
J
die but that's not me nor you.
# œœ.. œ œ œœ
& œœ œœ ˙
J
œœ œœ œœ œœ œœ
?# œ œ œ œ œ œ
{ 121
 9
#œ œ œ
& œ œ œ œ œ œ œ œ œ
œ
Long live the mer - ry, mer - ry heart that laughs both night and
#œ œ
& œ œ œ œ œ œ œ œ œ œ œœ œœ

œ œœ œœ
?# œ œ œ œ œ œ œ œ
{ œ

12
# œ. œ œ œ œ. œ
& œ
J
day, like the Queen of Mirth, no
# . œ œ œ.
& œœ. œ œ œ œ
J
œœ œœ œœ œœ œœ œœ
?# œ œ œ œ J ‰
{
15
#œ œ
& œ œ œ ˙
mat - ter what some folks say!
# œ
& œ œ œ œ ˙
œœ œœ œœ
?# œ œ œ œ
{
122
 Blessing
(Use with or after Lesson XVI.)
Music and words by Lois Veenhoven Guderian
Espressivo (q = ca. 100-108)
° 4 ∑ ∑ ∑
&4

4 ∑ ∑ ∑
&4

4 ∑ ∑ ∑
¢ 4
&
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ
4 œ
&4 œ J J
p
˙ œ ˙ œ ˙ œ
? 44 œ
{ œ œ œ œ œ
With pedal

4
°
& ∑ œ œ œ œ œ œ œ œ œ
p
Go a bout your way and pros - per.

& ∑ œ œ œ œ œ œ œ œ
p
œ
Go a bout your way and pros - per.
∑ ∑ ∑
¢&
œœ œœ œœ œ
œ
& œJ J œ œ œ œ œ œ œ œ
œ œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ
˙ œ
? œ ˙
{ œ ˙. œ ˙
123
 7
°
& œ œ œ œ œ œ œ ˙ œ œ œœ œ
Take ev -’ry - thing that you have learned. Your whole life un -

& œ œ œ œ œ œ œ ˙ œ œ œœ œ
Take ev -’ry - thing that you have learned. Your whole life un -

¢& ∑ ∑ ∑

& œœ œ œœ œ œœ œ œœ œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ
œ œ

? ˙
{ ˙. œ ˙ ˙. œ

10
° œœœ
& œ œ œ œ œ œ œ œ ˙
folds a - bout you, Reach for what is good and true.

& œ œ œ œ œ œœœ œ œ œ ˙
folds a - bout you, Reach for what is good and true.

¢& ∑ ∑ ∑

& œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œ œ œ œ œœ œ œœ œ
œ œ

? ˙ ˙
{
124
˙ ˙. œ ˙
13
° œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ
mp
Go a - bout your way and pros - per. Take ev -’ry - thing that

& œ œœœ œ œ œ œ œ œ œ œ œ œ
mp
Go a bout your way and pros - per. Take ev -’ry - thing that

¢& ∑ ∑ ∑

& ‰
œ œœœœ ‰ œ ‰ œœ ‰ œ œ œœœ
œ œ œœ œ œ œ
mp
œ œœœœ œ œ œœ œ œ œœœ
? œ œ œ œ
{ œ œ œ œœ œ

16
° œ œ ˙ œ œ œ œ œ œ œ œ
& œ
you have learned. Your whole life un - folds a bout you,

& œ œ ˙ œ œœ œ œ œ œ œ œ
you have learned. Your whole life un - folds a - bout you,

¢& ∑ ∑ ∑

& ‰ œ ˙˙ ‰ œ œ œ œœ ‰ œ ‰ œ œœ
œ œ œ œ œ œ

? œœ œ œ œ œ œ œ œœ œ œ œ œœ
{œ œ œœ œ œ œ œ
125
 19
° œ œ œ
& œ œ œ ˙ œ œ œ œ œ
pp
Reach for what is good and true. Some - times your life may

& œ œœœ œ œ œ ˙ œ œ œ œ œ
pp
Reach for what is good and true. Some - times your life may

∑ ∑ ˙ ˙
¢& pp

& ‰ œœœœœœœ ‰ œ ˙˙ ‰ œœ ‰œ ‰ œ‰ œ
œ œ œ
œ œ J J J J
pp
œ œœœœ œœ œœ œ œ ˙
? œ œ œ
{ œ œ œ œ œ

22
° œ œ œ œ œ
& œ œ œ œ œ œ ˙
bring you sad - ness, And it may some - times seem un - fair.

& œ œ œ œ œ œ œ œ œ œ œ ˙
bring you sad - ness, And it may some - times seem un - fair.
˙ ˙ ˙ ˙ œ œ ˙
¢&

œ œ œ œ œ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ˙˙
& ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ œJ ‰ J J J J J
? œœ œœœ œ œ ˙ œœ œœœ
œ œ œ
{
126
œ œ œ œ œ
25
°
& œ œ œ œ œ œ œ œ œ œ œ œ œ
mf
œ
Keep your re - solve and keep your cour -age. You have so much that

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ
mf
Keep your re - solve and keep your cour -age. You have so much that

˙ ˙ ˙ ˙ ˙ ˙
¢& mf

& ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ œ ‰ œ‰ œ
œ œ œ
J J J J J J J J J J J J
mf
œ ˙ œ œ ˙
?
œœ
œ œœœœ œœ œ œ
{ œ œ

28 (Instruments only)
° œ œ œ œ œ œ œœ œ
& œ ˙ œ
f
you can share.

& œ œ ˙ œ œ œ œ œ œ œ œ œ
you can share. f

œ œ œ ˙ ˙ ˙ ˙ ˙
¢&
f

œ œ ˙
& ‰ œJ ‰ œJ ˙ ∑ ∑
mf
j œj œj œœj ‰ œœj ‰ œœj ‰ œœj
? œ œ œ œ œ œ
‰ œœ ‰ œœ ‰ œœ ‰ œœj ‰
œ œ œ œ˙ œ œ
{œ œ w ˙
127
 31
° œ œ œ œ œ ˙ œ œ œ
& œ œ œ

& œ œ œ œ œ œ œ ˙ œ œ œ œ œ

˙ œ œ œ ˙ ˙
¢& ˙ ˙

& ∑ ∑ ∑

œœj œœj œœj œœj œœj ‰ œœj ˙˙˙ œœj œœj œœj œœj
? ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ ˙ ‰ œ ‰ œ ‰ œ ‰ œ
{ w ˙ w

34
° œ œ œ œ œ œ œ œ œ œ œ
& œ ˙

& œ œ œ œ œ œ œ œ œ œ œ ˙

˙ ˙ ˙ ˙ œ œ œ ˙
¢&

& ∑ ∑ ∑

œj œj
? ‰ œœ ‰ œœ ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj ˙˙
œ œ ˙ œ œ ˙ œ œ œ œ ˙˙
{
128
˙ ˙ ˙
37
° œ œ œ œ œ œ œ œ œ œ œ œ
& œ œ
mp
If your life be - comes un - cer - tain, And it is hard to

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ
mp
If your life be - comes un - cer - tain, And it is hard to

˙ ˙ ˙ ˙ ˙ ˙
¢& mp

& ∑ ∑ ∑
mp
œœj œœj œœj œœj œœj œœj ‰ œœj œœj œœj œœj œœj œœj
? ‰ œ ‰ œ ‰˙ œ ‰ œ ‰ œ ‰ œ ˙ œ ‰ œ ‰˙ œ ‰ œ ‰˙ œ ‰ œ
{ ˙ ˙

40
° œ œ ˙ œ œ œ œ œ œ œ œ œ
& œ
mf
choose your way. Look for the faith that is with - in you

& œ œ ˙ œ œ œ œ œ œ œ œ œ
mf
choose your way. Look for the faith that is with - in you
œ œ œ ˙ ˙ ˙ ˙ ˙
¢&
mf

& ∑ ∑ ∑
mf j
œj
? ‰ œœ ‰ œœj ˙˙ œ
‰ œœ ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj ‰ œœj
{ œ ˙˙ ˙ œ ˙ œ œ œ œ ˙ œ œ
˙ ˙
129
 43
° œ œ œ ˙ w w
& œ ˙
and your path will be re - vealed.

& œ œœ œ œ ˙ ˙ w w
and your path will be re - vealed.
˙ ˙ ˙ w w
¢& ˙

& ∑ ∑ ∑ ∑

œœj œœj œœj œœj œœj œœj œœ j j

œœj ‰ œœœ ‰ œœœ ‰ œœj œœj œœj œœj œœj œœj
? ‰ œ ‰œ ‰ œ ‰ œ ‰œ ‰ œ ‰ œ œ w œ ‰ œ ‰wœ ‰ œ ‰ œ ‰ œ
{ ˙ ˙ ˙ ˙

47
° ˙ Ó ∑ ∑ ∑
&

& ˙ Ó ∑ ∑ ∑

& ˙ Ó ∑ ∑ ∑
¢
œœœœœœœœœœœœœœœw w
& œ w w

˙ œ ˙ œ œ œ œ
? œ
{ œœ œ œœ œ w
130
 When Johnny Comes Marching Home
(Use with or after Lesson XVII.)
American Civil War Song by Patrick Gilmore (Pseudonym - Louis Lambert)
Arr. by Lois Veenhoven Guderian
Vivace (q. = ca.66-72)
Soprano Recorder I
° bb 6 j j j j
& 8 œ œ œ œ œ
and Voice I
f
œ œ œ œ œ
When John - ny comes march - ing home a - gain, Hur -
Soprano Recorder II b6 j j j j
and Voice II &b 8 œ œ œ œ œ œ œ œ œ œ
(Optional) f
When John - ny comes march - ing home a - gain, Hur -
Soprano Recorder III b6 j j j j
b œ œ œ œ
and Voice III
(Optional)
¢& 8 œ f
œ œ œ œ œ
When John - ny comes march - ing home a - gain, Hur -

b6 j j j j
b
& 8 œ œ œœ œ œœœ
œœ œ œ œœ
œ œ œ
Piano f
? bb 68 ‰ œ.. œ.. œ.. œ..
{ œ œ œ œ
3
° bb j j œ j œ œ
& œ. œ œj œ. œ œ œ œ œ œ
œ œ J
rah! Hur - rah! We’ll give him a heart - y wel -come then,Hur-
b j j œ j œ œ
& b œ. œ œj œ. œ œ œ œ œ œ œ
œ J
rah! Hur - rah! We’ll give him a heart - y wel -come then,Hur-
b j j œ j œ œ
b
¢& œ. œ œj œ. œ œ œ œ
œ œ œ œ J
rah! Hur - rah! We’ll give him a heart - y wel -come then,Hur-

b j j œ j œ œ
& b œœ.. œ j œ.
œœ œ œœ.. œ
œœ œ œœ œ œ œœœ
œ œœ œ œœ J
œ.
? bb œœ œœ œœ.. œ œj œ. œœ.. œœ.. œœ.. œœ..
{ J œ œ œ.
131
 7
° bb œ. œ œ œ. œ œ œ œ œ œ œ œ œ œ œj
& J J J J
rah! Hur - rah! The men will cheer the boys will shout, The

bb œ. œ œ
& œ. œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
J
rah! Hur - rah! men will cheer the

bb j
¢ & œ. œ œ #œ. œ ‰ œ ‰ œ ‰
œ
‰
œ
‰
rah! Hur - rah! men will cheer the

&b
b œœ.. œœ œ œœ.. œœ œ œœœ œ œœœ œ œ œ œ œ œj
œ. œ J #œ. œ J J #œœ J œœ
j œœ.. œœ..
? bb œœ œœ œœ.. #œ œ œ ‰ œœ.. œœ..
{ J œ œ œ

11
° bb œ œ œ j œ œ œ. œ.
& œ œ œ œ œ œ. œ.
J
la - dies they will all turn out and we’ll all be glad when
b j œ.
&b œ ‰ œ ‰ #œ ‰ œ œ œ. œ. #œ.
boys will shout and we’ll all be glad when

bb ‰ ‰ ‰ j
¢ & œ œ œ œ œ œ. œ. œ. œ.
boys will shout and we’ll all be glad when

b j œœ..
& b œœœ œJ œœœ œ œ #œœœ œ œœœ œ œ œ.
œœ..
œ.
.
nœœœ.. #œœœ...
œœ.. œœ.. œ. œ. # œ. œ.
? bb œ. œ . œ. #œ. œ.
{ œ. œ. œ.
132
15
° bb j œ.
& œ œ œ œ œ œ. ‰ œ œ œ.
John - ny comes march - ing home. Yes we’ll all be

bb j ‰
& œ œ œ œ œ œ. œ œ œ. œ.
John - ny comes march - ing home. Yes we’ll all be

bb j ‰
¢ & œ œ œ œ œ œ. œ œ œ. œ.
John - ny comes march - ing home. Yes we’ll all be

b j œ œ œœ.. œœ..
& b œ œ œ œœ œ œœ.. ‰
œ. œ.
œ œ œ.
œ. œ.
? bb œ. œœ.. œœ.. œœ ‰ œ. œ.
{ œ.

18
° bb œ. œ œ
& œ. œ œ J œ. œ
œ
glad when John - ny comes march - ing home.
b j
& b œ. #œ. œ œ œ œ œ œ. œ
glad when John - ny comes march - ing home.

bb j
¢ & œ. œ. œ œ œ #œ œ œ. œ
glad when John - ny comes march - ing home.

b œ #œœœ œ
& b nœœœ... #œœœ... œ œ J œœ.. œœ
œ. œ
. œ.
? bb ##œœ. œ. œœ.. j œœ..
{ œœ œœ
œœ
133
 Greensleeves
(Use with or after Lesson XVII.)
Anonymous Traditional Dorian melody from the Renaissance
Arr. by Lois Veenhoven Guderian
Dolce (q. = ca. 40)
6 j j
Soprano Recorder & 8 œj œ œ œ. œœ œ
œ œ. œœ
p
A - las my love you do me wrong to

6 j œ. œ œ j
& 8 œj œ œ œ œ œ. œ œ
Piano p
œ œ œ œ œ œ
? 68 ‰ œ œ œ œ
{ œ œ
With Pedal

4
j j
& œ j œ œ j œ œ. œœ
œ œ. œœ œ œ œ
cast me off dis cour - teous - ly. For I have loved you

j j œ j 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 j j j
œ œ. œœ œ. œœ œ œ œ œ œ.
oh so long, De light ing in your com - pa - ny.

& œ j j
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
{
134
10

& œ. œ. œ œ œ j
œ œ. œœ œ
j
œ œ. œ œ
Green - sleeves was all my joy, yes Green sleeves was

& œ. œ. œ œ œ j
œ œ. œ œ œ
j
œ œ. œ œ
? œ œ œ œ œ œ œ œ œ œ œ œ œ
{ œ œ œ œ œ

13
j œ. œ. œ œ œ j
& œ œ œ. œ œ. œœ
my de - light. Green - sleeves was my heart of gold, and

& œ j œ. œ. œ. œ œ œ j
œ œ œ. œ œ
œ œ œ œ œ
? œ œ œ œ œ œ œ
{ œ œ œ œ œ œ

16

& œ. œ j
œ œ œ œ. œ
who but my la - dy Green - sleeves?

& œ. œ j
œ œ œ œ. œœ
œ
? œ œ œ œ œ œ œ
{ œ œ
œ
135
 Loch Lomond
(Use with or after Lesson XVI.)
Traditional Scotch folk song
Arr. by Lois Veenhoven Guderian
Espressivo (q = ca.40-48)
#4
Soprano Recorder & 4 œœ œ œ œ œ œ. œ œ œ œ œ
œœ
mp
By yon bon - nie banks, and by yon bon - nie braes, Where the
#4 Œ
& 4 œœ œœ œ nœœœœ œœœ.. œ œœ
œœ œ œ œ œ
. œ
œ œ œ œœ œ
Piano p
? # 44 Œ œ œ œ œœ œœ œœ œ œœœ
{ œ œ œ

3
# ˙
& œ œ œ œ œ œ œ
sun shines bright on Loch Lo - mond, Where
# ˙ œœ œœœœ
& œœ œœ œœœ œœœ ˙˙˙ œ
œ œ
œ œ œ œ œ œ œ
?# œ œ œ œ œ œ
{ œ œ œ

5
#œ œ œ œ œ œ œ œ œ œ
& œ œ œ
me and my true love Were ev - er wont to gae, On the
#œ œœ
& œœ œœ œœœ œœœ
œ
œœ
œ
œœ œœ œœœ
œœ œ
?# œ œ œ œ œ œ œ œ œ œ œ œ œ
{
136
œ œ œ
7
# .œ U
& œ œ. œ œ
œ œ ˙ œ œ œ œœ œ œ œ
p
bon - nie, bon - nie banks of Loch Lo - mond. Oh! ye’ll take the high road and

# U
& œœ œœœœ œœœ œœœ œœ œœ œœ œœ œœœ œœœ œœ
œ œ œ œ œ œœœ œ œ œ œ
pp
?# œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ
{ œ œ œ œ œ œ œ

10
# j œ ˙ œ œ
& œ œœ œ œ œ œ œ œ œ œ J
cresc.
I’ll take the low road, And I’ll be in Scot - land a - fore ye, But

#
& œœœ œœœ œœœ œœ œœ œœœœ œœœ œœ œœœ œœœ œœœ œœ
œ œ œ œ œ œ œ œ œ
cresc.
? # œœ œœ œœ œœ œœ œœ œœ œœ œ œœ
œ œ
œœ œœ
{ œ
œ œ œ œ œ œ œ

13
#œ œ œ œ œ œ œ œ
& œ œ œ œ œ
mf
me and my true love will nev - er meet a - gain On the

# œœ œœ œ œ œœ œ œœ œ
& œœ œœ œœœ œœ œ œœ
œœ œ œ œœ œœ œ
mf
œ œ
?# œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œœ œ
{ œ œ œ œœ
137
 15
# œ
& œ œ. œ œ. œ œ ˙
œ
œ
bon - nie, bon - nie banks of Loch Lo - mond. But

# œœ œœ œœ
& œœ œœœ œ œœ 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 œ œ œ œ

17
# œ œ œ œ œ œ œ œ œ
U
œ œœœ
& œ œ
f dim. mp
me and my true love will nev - er meet a gain On the

# œœ œœ œœ œ U
œœ..
& œœ œ œœ œœ œ œœ œœ œ œœ.. ‰
œœ œ œ
f dim. mp
?# œ œœ œ œ œœ œ œ œœœ œ œ œ œ œ
{ œœ œ
œ œ œœ

19
# U
& œ œ. œ œ. œ œ œ œ œ œ ˙ ˙.
bon - nie, bon - nie, banks of Loch Lo mond.

# œœ U
& œœ œœ œ œœœ œ œœ œœœ ˙˙ ˙˙..
œ œœ œ œœ œ œ ˙ ˙˙..
?# œ œ œ œ œœ œ œ œ ˙U.
{ œœœ œ œ œ œ œ œ œœ ˙˙..
œ œ œ
138
 Parson’s Farewell
Traditional tune from the Renaissance
Arr. by Lois Veenhoven Guderian
Vivace (q = ca. 120-138)
° 4œ j
Soprano Recorder I & 4 œ œ œ œ œ œ œ. œ œ œ œ œ œ
mf

4
Soprano Recorder II ¢ 4œ œ œ œ
& œ œ ˙ ˙ ˙
mf

4œ œ œœ Œ œœ Œ œœ Œ œœ Œ
&4 œ Œ œ Œ
Piano mf
œœ œœ œœ œœ œœ œœ
? 44 Œ Œ Œ Œ Œ Œ
{
4
° œ œ œ œ œ œ œ œ. j
& œ œ ˙ œ œ œ œ œ œ

¢& œ œ ˙ œ œ œ œ œ œ ˙ ˙ ˙

œœ Œ œœ Œ œœ Œ œœ Œ œœ Œ œœ Œ
& œœ Œ œœ Œ
œœ œœ œœ œœ œœ œœ
? œœ Œ œœ Œ Œ Œ Œ Œ Œ Œ
{ 139
 8
° œ œ œ œ œ œ œ
& œ Œ Œ
œ œ
f

Œ Œ
¢& œ œ ˙ œ œ œ œ œ œ
f

& œœ Œ œœ Œ œ Œ œ Œ œ Œ œ Œ
œ œ œ œ
f
? œœ Œ
œœ
Œ œœ Œ œœ Œ œœ Œ œœ Œ
{ 11
° œ œ œ œ 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
œœ œœ œœ œœ
? œœ Œ œœ Œ Œ Œ Œ Œ
{ 14
° œ œ
& œ œ œ œ œ œ œ œ œ œ ˙ ˙

¢& œ œ œ œ œ œ œ œ ˙ ˙
œœ Œ œœ Œ œœ Œ œœ Œ œœ Œ œœ Œ
&
œ œœ œœ œœ œœ œœ
? œ Œ Œ Œ Œ Œ Œ
{
140
 The Trout
Adapted from F. Schubert’s song Die Forelle, Op. 32
By Lois Veenhoven Guderian
Moderato (q = ca.92-100)
4 œ œ œ œ
Soprano Recorder &4 œ
mf
3 3 3
4 ‰
&4 œ
œ œ œ œ œ œ œ œ œ
Piano
? 44 Œ œ œ œ
{ œ

2
j œ œ œ œ
& ˙ œ œ œ. œ
3 3 3 3 3 3
& ‰ œ œ 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
3 3 3 3 3 3
& ‰ ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? œ œ œ œ œ œ
{ œ œ
* See also the Piano Quintet in A Major, Op. 114, Mov. IV
141
 6

& ˙ œ œ œ œ œ œ œ ˙ Œ œ

3 3 3 3 3 3 3 3 3 3
& ‰ œœœœœœœ ‰ #œ ‰ ‰
œ œ œœœœœ œœ œœ œœœœœœœœœ
? œ œ œ œ œ œ œ œ œ œ
{ œ œ

& œ. œ œ œ œœ ˙ œ œ œ. œ œ œ œœ
J J
3 3 3 3 3 3 3 3 3
& ‰ œœœœœœœ ‰
œœœœœœœœœ
‰
œ œ œœœœœœœœœ
? œ œ œ œ œ
{ œ œ œ œ œ œ œ

12
j œ œœ ˙ j
& ˙ Œ œ œ. œ œ œ. œ

3 3 3 3 3 3 3 3 3
& ‰ œœœœœœœœœ ‰ ‰
œœœœœœœœœ
œœœœœœœœœ
? œ œ œ œ œ œ œ œ
œ œ œ
{ œ
142
15
j j œ œœ
& œ. œ œ œ ˙ Œ œ œ. œ œ

3 3 3 3 3 3 3 3 3
& ‰ ‰ ‰
œœœœ œœœœœ œœœœœœœœœ œœœœœœœœœ
? œ œ œ œ œ œ œ œ œ œ
{ œ œ

18
j jœ
& ˙ œ. œ œ. œ œ ˙ Œ œ

3 3 3 3 3 3 3 3 3
& ‰ œœœœœœœœœ ‰ ‰
œœœœœœœœœ
œœœœœœœœœ
? œ œ œ œ œ œ œ œ œ œ œ
{ œ

21
j U
& œ. œ œ œ w ˙.

3 3 3 3 3 3 U
& ‰ ‰
œœœœœœœœœ
œœœœœœœœœ œ ˙
? œ œ œ œ U
˙.
{ œ œ œ œ

143
 Swing Low, Sweet Chariot /
Nobody Knows the Trouble I’ve Seen
* The voice and instrument parts are interchangeable. Any combination works well. The piano is optional.

Traditional lyrics African American Spirituals

Arr. by Lois Veenhoven Guderian
Moderato (q = ca. 60-84)
Soprano Recorder I
° 4 .. œj j
&4 ∑ j œ. œ œ œœ ˙
and/or voice œ œ
No - bod - y knows the trou - ble I've seen.

Soprano Recorder II 4 ∑ .. œ j
and/or voice ¢ 4
& ˙ œ œ. œ œj œ.
Swing low, sweet char - i - ot

4 ∑ .. œ j
&4 ˙ œ œ. œ œj œ.
Piano Swing low, sweet char - i - ot

? 44 ˙ .. ˙
{ ˙

4 œ œ œj ˙
˙˙
˙

.. œ œ œj ˙
˙˙ ˙˙

œ œ œj ˙
˙˙

Soprano or
alto Glockenspiel {& 4 J J J
No - bod - y knows. No - bod - y knows. No - bod - y knows.

Soprano or 4 .
alto Xylophone { 4 œ œ œœœ .œ
& œ œœœ œ œ œœœ

Bass Xylophone or 4˙ ˙˙ .. ˙˙ ˙˙ ˙˙ ˙˙
metalophone { 4˙
&
144
4
° j j j
& œ œ j œ j œ
œ œ œ œ ˙. œ œ œ.
No - bod - y knows my sor - row. No - bod - y knows the

œ ˙. œ œ ˙. œ
¢& œ œ œ œ œ œ
Com - in’ for to car - ry me home. Swing low, sweet

œ œ ˙.
& œ œ œ œ œ œ œ ˙. œ

Com -in’ for to car - ry me home. Swing low, sweet

? ˙
{ ˙
˙˙ ˙˙ ˙˙ ˙˙ ˙˙

œ œ j j j
{& J œ ˙ œ œ
J œ ˙ œ œ
J œ ˙
No - bod - y knows. No - bod - y knows. No - bod - y knows.

{& œ œ œ œœ œ œ œœœ œ œ œœœ

˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
{& ˙
145
 7
° œ œ j ..
& œ œœ ˙ J œ œ œ ˙ ˙
trou - ble I’ve seen. No - bo - dy knows my sor - row.

j ..
¢& œ. œ œj œ. œ œœœ œœœ w
char - i - ot Com -in’ for to car-ry me home.

j ..
& œ. œ œj œ. œ œœœ œœœ w
char - i - ot Com -in’ for to car-ry me home.

? ˙
{ ˙
˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ..

œ œ j j j
{& J œ˙ œ œ
J œ ˙ œ œ
J œ ˙ ..

No - bod - y knows. No bod - y knows. No - bod - y knows.

..
{& œ œ œœœ œ œ œœœ œ œ œœ œ

˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ..
{& ˙
146
 Mi Y’malel
(Who Can Retell?)
Traditional Hebrew folk song
Arr. by Lois Veenhoven Guderian*
Allegretto (q = ca.120-126)
4 ˙
Soprano Recorder &b 4 œ œ œ œ œ œ œ œ œ œ ˙
mf
Mi y’- ma - lel g’vu - rot Yis - ra -el? O - tan mi
Who can re - tell the things that be - fell us? Who can
4 ˙˙
&b 4 œ œ œ œ œ œœ œœ œ œœ œœ ˙˙
Piano mf
? 44 œ œœ œ œœ œ œœ œœ œ œœ œ œœ
4
{ b œ

&b ˙ ˙ œ œ œ œ œ œ
œ œ œ œ
yim - neh? Hen b’ - khol dor ya - kum ha - gi - bor go -
count them? In ev’ - ry age a he - ro or sage came

& b ˙˙ ˙˙ œ œœ œœ œ œœ œœ
œ œ œ œ

? œ œœ œœ œ œœ œœ œ œœ œœ
{7
b œ œ
Fine
œ

&b ˙ ˙. Œ .. w
˙ f
el ha - am. Sh’ma!
to our aid. Hark!

&b ˙ Œ .. Œ œ œ œœ
˙ ˙. bœœ œœ Œ œ
f
œœ œœ œœ œœ œ œ
?b œ œ œ .. œ
{ œ œ
* Special thanks to Michelle Minkoff for her help in denoting the Hebrew lyrics. (Apostrophes denote silent vowels.)

147
 10

& b œ œ œ œ nœ œ œ œ ˙. œ œ œ œ œ
Ba - ya - mim ha - hem baz’ - man ha - zeh, Ma - ka - bi mo -
Long a - go in Is - rael’s an - cient land, Brave Mac - ca - be - us
bœ œ bœœœ œ œœ
& b œ œœ œ bœœœ nœ œœœœ œ œœœœ œ bœœœ œœœ Œ œœœ bœ

?b œ œ œ œ œ œ œ œ œ œ
{ œ œ œ œ œ œ

14

& b nœ œ œ œ ˙. œ œ œ nœ œ œ œ œ œ
shi - a u - fo - deh, u - v’ya me - nu kol am Yis - ra -
led the faith - ful band But now all Is - rael will as one a -

& b nœ œœœœ œ œœœœ œ bœœœ œœœ Œ œœœ bœ œœœ nœ bœœœ œ œœ œ bœœœ

œ
œ œ œ œ
?b
{ œ œ œ œ ˙ ˙ ˙ ˙
18 D.C. al fine

& b ˙. œ œ œ nœ œ œ œ œ œ ˙ ˙
el, yit’ - a - hed ya - kum ve - yi - ga - el.
rise, Re - deem it - self through deed and sac - ri - fice.

& b Œ bœœœ œœœ Œ œœœ bœ œœœ nœ bœœœ œ œœ œ bœœœ ˙˙ ˙˙˙

œ b˙ ˙
?b
{ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
148

 
Playing the
Soprano
Recorder

Addendum
 PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio ADDENDUM

Glossary
accidental Raises or lowers a tone one half step.

adagio To play or sing a piece in a slow tempo.

allegro To play or sing a piece fast and lively.

andante To play or sing a piece in a moderate walking tempo.

bar line Separates the measures.

C major scale The C major scale is comprised of eight steps, or seconds.

cantabile To play or sing a piece in a flowing, singing manner.

chorale A hymn tune from the seventeenth or eighteenth century.

D.C. al fine Go back to the beginning until the fine – finish or end of the
piece.
dotted eighth and This common rhythm pattern is found in meters where the
sixteenth note quarter note receives the beat. The pattern is equal to one beat.
rhythm pattern

dotted eighth and Count this rhythm by subdividing the eighth note value. In 6/8
sixteenth note meter, the eighth note receives one beat.
rhythm pattern
in 6/8 time
dotted half note
h. Receives three beats in meters where the quarter note receives
the beat, i.e. the time signature has a “4” on the bottom.
dotted quarter note
q. Receives 1½ beats in meters where the quarter note receives
the beat, i.e., the time signature has a “4” on the bottom.
double bar ìì Two measure bar lines drawn close together to mark the end of

î
a section.
double bar, final Placed at the end of a piece of music.

downbeat Occurs on the first beat of the measure.

dynamics The louds and softs of music.

eighth note e Receives ½ beat in meters where the quarter note receives the
beat, i.e. the time signature has a “4” on the bottom.
espressivo To play or sing a piece expressively.

A
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio ADDENDUM

fermata U A sign that indicates holding a note longer than the normal
duration.
flat b A flat sign lowers a tone one half step.

forte f Loud (a dynamic).

fortissimo ff Very loud (a dynamic).

giocoso To play or sing a piece in a lively, joking manner.

grazioso To play or sing a piece gracefully.

half note h Receives two beats in meters where the quarter note receives
the beat, i.e, the time signature has a “4” on the bottom.
interval An interval is the distance between two tones.

key signature The sharps or flats at the beginning of a piece that signify the
key in which a piece in written.
largo To play or sing a piece in a very slow tempo.

legato To play in a smooth, connected manner with no tonguing

articulation.
maestoso To play or sing a piece in a majestic manner.

measure The space between two measure bar lines.

measure bar line Separates the measures (same as bar line).

meter The pattern number of beats per measure notated by time

signatures. The meter of 4/4 is four beats per measure. The
meter of 6/8 is six beats per measure.
music staff Five lines and four spaces. Music notes are written on the
staff.
mezzo forte mf Moderately loud (a dynamic).

mezzo piano mp Moderately soft (a dynamic).

moderato To play or sing a piece in a moderate tempo.

natural n A natural sign indicates that a note is neither sharp nor flat.

notation (notating, The writing of music. Notes on the staff indicate pitch. Note
to notate) values indicate duration.

B
 PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio ADDENDUM

notes, tip for Notes placed on the middle line of a staff or higher have stems
writing correctly that go down, on the left side of the note head. Notes placed
below the middle line have stems that go up, on the right side
of the note head. On the treble staff, G and A are up stem
notes. B is a down stem note because it is on the middle line.
pianissimo pp Very soft (a dynamic).

piano p Soft (a dynamic).

pickup note or Precede the first full measure of music.

notes (upbeat)
presto To play or sing a piece in a fast tempo.

primary accent A strong emphasis: Usually the first beat of the measure
receives a strong emphasis or primary accent.
quarter note q Receives one beat in meters where the quarter note receives
the beat, i.e., the time signature has a “4” on the bottom.
repeat sign Indication to play a section again.

repeated notes Notes on the same line or space in succession.

rhythm The result of organizing beats and note values in time.

secondary accent A beat receiving emphasis, however a slighter emphasis than

the first beat of the measure.
sharp # A sharp sign raises a tone one half step.

sight-reading To play or sing a piece for the first time.

sixteenth note A sixteenth note receives ¼ of a beat in meters where the

x quarter note receives the beat, i.e., the time signature has a “4”
on the bottom.
sixteenth note rest ≈ A sixteenth note rest receives ¼ of a beat in meters where the
quarter note receives the beat, i.e., the time signature has a “4”
on the bottom.
skip Any distance between two notes that is larger than a step, e.g.,
a line note to the next line note.

— –
slur A slur is a curved line placed under or above notes of various
pitches. A slur indicates legato playing. Slurs can be two or
 or   more notes in length. Slurs are played in a smooth, connected
manner. The end of a slur is articulated by making a “d”
sound with the tongue.

C
PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio ADDENDUM

solfège A traditional system of syllables used in learning to read

music. The solfege syllables are often used in learning to sing
the eight-step major scale. (do, re, mi, fa, sol, la, ti, do)
staccato To play a note in a short, separated manner. Staccato is
notated by placing a dot above or below a note head.
step A space note followed by the very next line note, or a line
note followed by the very next space note. A step is an
interval of a second.
subdivide To divide into smaller parts.

syllable A vowel, preceded by a consonant, used to exercise the

singing voice.
tie Tied notes are notes of the same pitch connected by a curved
line. Tied notes are held for the sum of the notes tied together.
time signature Determines the grouping of beats into measures.

treble clef & Also called G clef. Establishes the second line of the staff as
G, and is used in notating notes higher in pitch than Middle C.
triplet A triplet is a three-note group played in the note value time of
a two-note group. Eighth note triplets are played one group
per one beat just as two eighth notes are played one pair per
one beat.
two eighth notes Equal to one beat in meters where the quarter note receives
eeor  iq
one beat, i.e., the time signature has a “4” on the bottom.
whole note w Receives four beats in meters where the quarter note receives
one beat, i.e., the time signature has a “4” on the bottom.

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Tables

Table of Notes and Rests in Time Signatures Where the Quarter Note is Equal to One Beat

Quarter  Note   Quarter  Note  Rest  

=   =   Œ
1  beat  of  sound   1  beat  of  silence  
œ
Half  Note   Half  Note  Rest  
=   ˙ =   Ó
2  beats  of  sound   2  beats  of  silence  

Whole  Note   Whole  Note  Rest  

=   w =   ∑
4  beats  of  sound   4  beats  of  silence  

Dotted  Half  Note   Half  Note  Rest  +    

=   Quarter  Note  Rest   Ó.
=  
3  beats  of  sound  
˙.
3  beats  of  silence  

Dotted  Quarter  Note   Dotted  Quarter  Note  Rest  

=   œ. =   Œ.
1½  beats  of  sound   1½  beats  of  silence  

Eighth  Note   j Eighth  Note  Rest  

=   =  
œ ‰
½  beat  of  sound   ½  beat  of  silence  

Sixteenth  Note   Sixteenth  Note  Rest  

r
=   =  
œ ≈
¼  beat  of  sound   ¼  beat  of  silence  

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Name of Piece Lesson Skills Level Page Number

same as lesson Piano
unless shown Lesson Accompaniment

A Little Warbling Song (R. Schumann) XVIII VI 104 98

A Very Old Tune XIV XIV 76 70
All Through the Night XIII XIII 71 64
Allegretto Scherzando (L. Beethoven) XIII XIII 70 63
Almost a French Folk Song III III 16 10
Alouette XVIII VIII 106 101
Amazing Grace VII VII 35 30
Andante (F. Haydn) XIII XIII 70 62
Aura Lee V V 26 23
Barcarolle (J. Offenbach) XVIII XIV 113 118
Battle Hymn of the Republic XVI XVI 88 81
Bird Song at Evening X X 50 43
Blessing XVIII XVI 115 123
Brother Come and Dance with Me X X 50 42
Burleske (L. Mozart) VI VI 30 25
Camptown Races XV XV 81 74
Canción de Cuna X X 51 45
Chester IV IV 21 15
Dance for Leila XVIII V 103 96
Deck the Hall VIII VIII 40 32
Dream XVI XVI 87 79
Du Liegst Mir im Herzen XVIII IV 102 94
Fancy Skip Blues XVI XVI 87 78
First Piece I I 4 1
Frère Jacques III III 16 11
From Brahms’ First IV IV 21 17
From Heav’n Above to Earth I Come XVIII VII 105 100
Go Tell Aunt Rhodie XVIII IV 101 92
God Save the Queen XVIII X 108 106
Greensleeves XVIII XVII 120 134
Hatikvah XVIII XII 110 110
Higher and Higher Waltz XII XII 63 55
Hot Air Balloon Waltz III III 17 12
Irish Dance XIV XIV 75 66
Jacob’s Ladder XI XI 56 49
Jingle Bells XVIII I 98 87
Jolly Old Saint Nicholas (Exercise #33) XV XV 78 72
Joshua Fit the Battle XI XI 58 52
Largo (A. Dvorak) VIII VIII 41 34

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Name of Piece Lesson Skills Level Page Number

same as lesson Piano
unless shown Lesson Accompaniment

Little Bird IV IV 20 13
Little David Play on Your Harp XV XV 82 76
Loch Lomond MSS XVIII 121 136
Looby Loo II II 12 7
Lully, Lullay XVIII II 99 89
March of the Toy Soldiers (V. Herbert) XVIII XI 109 107
Mi Y’malel MSS XVIII 125 147
My Country ’Tis of Thee / God Save the Queen XVIII X 108 106
Nobody Knows the Trouble I’ve Seen MSS XVIII 124 142
Nocturne XVIII III 100 90
Now The Day Is Over I I 4 2
Ode to Joy (L. Beethoven) XVIII XII 111 112
Parson’s Farewell MSS XVIII 122 139
Peaceful Evening VII VII 35 29
Piece III III 16 9
Playing Statues XI XI 56 51
Pomp and Circumstance (E. Elgar) XVIII IX 107 103
Prelude I I I 5 3
Prelude II V V 26 21
Reminiscent of an Old Dance IX IX 46 40
Shepherds’ Song (L. Beethoven) IX IX 45 37
Silent Night XVII XVII 94 85
Some Folks Do XVIII XV 114 121
Song Without Words V V 25 19
Stop and Look II II 10 4
Sur le Pont d’Avignon XVII XVII 93 83
Swing Low, Sweet Chariot MSS XVIII 124 144
The Ash Grove XII XII 65 59
The Tie XII XII 63 56
The Trout (F. Schubert) MSS XVIII 123 141
There Is a Balm in Gilead XVIII XIII 112 115
Three Gray Mice II II 11 6
Tripleting Along XVII XVII 93 84
Twenty-First-Century Minuet IV IV 21 18
Vive la Compagnie XIV XIV 75 68
Wake, Awake, for Night Is Flying XII XII 64 57
Waltz II II 11 5
When Johnny Comes Marching Home XVIII XVII 118 131
White Coral Bells VI VI 31 27

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A Few Tips on Vocal Technique1

The vocal technique introduced here is to give individuals the basic physiological actions for developing and/or
improving their singing quality. Singing is a learned behavior! It requires thinking and doing, and the development
in understanding of the connection between the two. Singing requires the development of muscles for breathing and
vocal production; the consistent practice of vocal procedures to expand the range and ability to sing with ease.
Enjoyment should be a part of the process when endeavoring to learn vocal production and good singing habits.
There follow a few basic technical principles and instruction for developing ease in singing, and improved vocal
quality and pitch.

Posture First
1. Place your feet firmly on the floor 6 to 9 inches apart. Singers must have a firm and tall (not stiff), balanced and
relaxed stance.

2. Lift arms high overhead, stretching to the ceiling. This will stretch and lift the upper part of your body preparing
it naturally for the posture needed for correct breathing and singing.

3. Slowly drop your arms to your sides allowing them to hang in a loose, relaxed manner.

4. Check to make sure your shoulders are relaxed, not stiff or “up”. The body must be straight, but never stiff for
good singing. Tension anywhere in the body will hinder good breathing and vocal production.

5. Make sure that your knees are not locked.

6. Imagine a picture of your head balanced evenly on top of your spine and try to match this image. The chin
should not tilt forward (down) or backward (up)

7. Hands should be open and relaxed at sides, not clenched or crossed behind the body.

8. Head, face and eyes should all be forward, ready to breathe and sing correctly.

9. In some circumstances when you might need to sit rather than stand for singing, sit on the upper half of the
chair, both feet firmly on the floor spine straight, chest up, and shoulders down.

Breathing Exercises to Develop Muscles for Supported Singing

1. Check posture to make sure the body is prepared for correct breathing.

2. Inhale breath as if sucking through a straw or breathe through the nose. Be conscious of filling up the sides,
front and back areas of the rib cage with air. Exhale the air on an “s” consonant sound. This exercise helps to
develop the ability to exhale the breath evenly in support of a sung tone and for singing a succession of tones
with words.

3. Inhale as before and exhale on the “s” sound. Make the “s” last as long as you can. Look in a mirror to watch
your chest and shoulders. The upper part of the chest and shoulders should move very little, not up and down,
while breathing.

1  Vocal
Tips section based on a life-time of vocal study and educating. Prepared by Lois Veenhoven Guderian ©
2009, LoVeeG Publishing.

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4. Inhale as before, place your hands in the area below the end of the sternum and make eight staccato (short and
detached) “s” sounds. With each short “s” sound that your muscles allow you to make, your hands should move.
This exercise helps to develop breathing muscles for singing, for supporting the tone with the breath, and for
exhaling the breath and tone in a consistent stream.

5. Inhale as before and exhale while singing a five-note descending scale (“so, fa, mi, re, do”) at first on “loo be
loo be loo” then with “so, fa, mi, re, do.” Repeat the exercise several times – breathe in, exhale while singing
the tones. Practice the exercise starting on higher and lower pitches to include practice in several keys.

Articulation and Diction

Words are made up of vowels and consonants. Articulation is the act of singing vowels and consonants by
employing the lips, tongue and teeth to form syllables and words. Diction is the act of pronouncing the consonants
and vowel sounds of words in a manner that is easily understood. The execution of the beginning consonants of
words and making sure to articulate the ending consonants of words is extremely important to understandable,
excellent diction and singing.

Vowels

Trying to sing vowel sounds on tones supported by the breath while during the process of exhaling the breath,
creates singing tone. How the vowel is sung affects the quality of the singing tone. Consonants are sounds. Clearly
articulated consonants at the beginning of a word or syllable can help singers to focus on the vowel sound; and
clearly enunciated ending consonants provide closure to words and syllables. However, consonants are not singing
tones. To sing a tone, one must sing a vowel. A few suggestions for vowels follow.

1. Sing pure vowel sounds as in ee, ay, ah, oh and oo. An excellent exercise to help individuals in developing
correct pronunciation of the pure vowels for correct singing is to practice saying, or singing the vowels on one
pitch, in the order given above.

• For the long “e” vowel, make a small circle with the lips. The tip of the tongue is behind the lower teeth but
the main portion of the tongue feels rather fat, flat, and free floating. Keep the position of the lips in the
circle while thinking long and narrow as opposed to a long “e” with the lips spread in a smile. The spread or
smiley “e” produces a harsher long “e” sound and is not desirable.
• For the long “a” vowel, make the opening of the mouth a little larger by a slight drop of the jaw. The tip of
the tongue position remains basically the same as for the “e” vowel; i.e., behind the lower teeth. However,
the tongue is lower in the mouth and the opening in the lips is bigger thus producing a change in the vowel
sound.
• For the “ah” vowel, the mouth is expanded into an oblong position – the space large enough to insert two
fingers. The tongue and jaw are relaxed and “dropped.” It is the position commonly thought of as the “open
mouth” position.
• For the “oh” vowel, make the opening similar in size to the long “a” vowel opening however the tongue is
up; not behind the teeth. Make the lips form a circle like the letter “O” for singing the pure “o” vowel.
• The “oo” vowel requires an even smaller circle – like the ee vowel with which you started. The tongue is
free, not placed behind the teeth. The lips are puckered.

2. When singing, hold onto the vowel sound as long as possible.

3. Use consonants to focus on vowel sounds and then maintain the vowel sound, without changing it, during the
singing of a syllable or word.

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4. To maintain the vowel sound as mentioned in #3, do not anticipate the ending of a word or syllable of a word by
articulating the ending consonant sound too soon. This anticipation can change or distort the sound of the vowel
and therefore the tone quality of your singing.

5. In the case of diphthongs – vowels that have two-vowel sounds such as long “a” (ay and ee) and long “i” (ah
and ee) – concentrate on singing the first part of the vowel and add the ending sound just at the end of the word
or syllable. The long “i” vowel sound is actually sung as ah, as in the word night: sung nah–ight. The end of the
vowel sound is added quickly just as the ending consonant “t” is placed at the end of the word. When singing
the diphthong long “ay,” the beginning pure “a” sound of the vowel should be held as long as possible, and the
ending “ee” sound deemphasized and added as quickly as possible at the end of the sung word.

Summary of Technique for Singing the Pure Vowels Correctly

• The “ee” vowel sound (as in the word meek) – mouth open, about the size of a dime, tongue relaxed with a
rather fat feeling and placed behind the bottom lower teeth.
• The “ay” vowel sound (as in the word may) – the mouth opening is larger in size than for the “ee” vowel, i.e.
the jaw is dropped slightly with the tongue, wide and fat in feeling, down behind the lower teeth.
• The “ah” vowel sound (as in the word father) – dropped, relaxed jaw, tongue down, behind the lower teeth,
mouth open wide enough to fit two fingers.
• The “o” vowel sound (as in the word over) – form the “o” circle with the lips making sure that the opening in
the lips is large enough for the vowel sound to leave the mouth: about as large as the opening for the ay vowel.
• The “oo” vowel sound (as in the word you) – lips are puckered with a fat, spongy feeling, not tight, with mouth
open as far as is possible while still maintaining the “oo” puckered lips (as if the lips are circling the vowel
sound, creating a resonating chamber in the mouth in which an egg could be lodged lengthwise.)

Consonants

Consonants are formed by the mouth: the lips, the tongue and the teeth. Often, a singer uses a consonant or
consonant blend sound to focus on the vowel sound and project the tone. Consonants should be articulated as
quickly as possible so as not to change the vowel sound in any way.

1. The jaw, mouth, tongue, lips and teeth must be relaxed for the proper execution of consonants.

2. Some consonant sounds are formed with lips only (as in the “p” consonant sound), some with tongue (as in the
“t” consonant sound) and some with a combination of lips, teeth or tongue (as in the “ch” sound). Consonant
sounds are vocal/voiced such as the consonant “v” and some are non-vocal/voiced and produce a sound such as
with the consonant “f.” Again, in almost all cases, consonants should be sung quickly immediately preceding the
vowel sound, and allow the breath to support the singing and sustaining of the tone on the vowel sound.

3. Some consonants, such as “l,” “r,” and “n” can cause problems for singers when they occur in the middle or at
the end of a word. When a singer tries to sing these consonants in the same way they are spoken, the tone is
pulled to the back of the throat sounding unpleasant and covered. To avoid this, take care that consonants are
not anticipated when they occur in the middle or end of a word. For an “r” that occurs in the middle of a word,
sustain the preceding vowel sound through the “r” adding the slightest “r” sound at the end of the syllable.
Therefore, a word such as “marching” can be sung as “mahching” or “mahrching” singing the “r” sound with
only a hint of the “r” and as quickly as possible. “Fairer” can be sung as “fehrə.” In words that end with an “l”
sound such as “sell,” sustain the short vowel sound, “eh” as long as possible and add the ending “l” sound
quickly at the end of the required duration of the note value.
An excellent exercise to warm up the tongue, teeth and lips for articulation and fluid diction is to quickly repeat
patterns that begin with consonant sounds in a crisp manner, and steady meter and tempo. For example, T,T,T,T, P, P,
P, P, T,T,T,T, P, P, P, P in a steady 4/4 meter. Tongue twisters are also a great warm up for practicing articulation for
proper diction. A children’s warm-up pleaser with the addition of vowel sounds: “Zippy, Zippy Zah, Zah, Zippy,
Zippy Zoo; Zippy, Zippy Zah, Zah, I like you.”

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Tips for Learning to Sing Six of the Vocal Pieces

Regardless of the vocal range, i.e., soprano, alto, tenor or bass, most people can sing comfortably
in the middle range of the voice. The middle pitch area for men is the baritone range. For female
singers, Soprano II is a comfortable pitch range for most. The following 4 songs are arranged for
middle pitch range so that most individuals can learn how to sing the songs in a comfortable
range. Transposition to a different key might still be necessary for some individuals. Notes on
vocal technique for two songs that require use of the head voice round out the vocal studies.

Amazing Grace
Recorder Text: Section One, page 35; Section Two with piano part, page 30
Practice/Performance Website: Track 22

1. Sing the song on an “oo” vowel sound before adding the text. Concentrate on singing smooth, long phrases.
Support your tone with the breath.

2. For smooth phrasing and a connected singing style on this piece, per each phrase, concentrate on using the
beginning consonants of words to go right to the vowel sound. Hang on to the vowel sound, without changing it,
as long as possible before ending a word. Then, connect the end of a word to the beginning of the next word.
Example: “gracehow,” “sweetthe.” The consonant at the end of the first word in these two-word groups and the
consonant at the beginning of the second word in the two-word group become as one sound with no break in
between. This blending of ending and beginning consonants of words for purposes of legato phrase is very
different that placing an ending consonant sound on one word that is followed by a rest or the beginning of a
new phrase.

3. Take a breath after the words sound, me, found, and see. During the early days of developing your breath
support for singing, you might not be able to sing a whole phrase on one breath. Here is an alternate breathing
plan until you are able to sing the whole phrase on one breath. Take a breath after the words grace, sound,
wretch, me, lost, found, blind, and see.

4. Use the vowel pronunciation guide above for correct singing of the long “a” and long “e” vowel sounds on
words like grace, a MAzing, see. In choral and traditional vocal styles of singing, the vowel sound should not be
changed after the initial execution, until the end of the word. For example, the long “a” vowel on the word
“amazing” is pronounced “eh” until the end of the word, when closure of the word requires that the tongue
come up to pronounce the second vowel sound of the dipthong. It is at this point, that the characteristic long a to
long e sound of the vowel takes place. The quality of singing/tonal sound is lovely when singers learn to hang
on to the first part of the dipthong, in this case the “eh” sound of the long a vowel, without changing the vowel
sound until the very end of the indicated duration for the word or syllable of the word.

5. Under the same principle of vocal technique, the long “i” is an example of another common vowel sound in
Amazing Grace. Watch out for diphthongs like the i vowel in words like, blind. Concentrate on singing the first
vowel sound “ah” for the duration of the tone. Add the second vowel sound quickly as you end the word.

6. Sing expressively by adding dynamic contrast according to musical and text demands.

For example, shape phrases with a rise and fall of the volume according to the contour of the melody. Often, a
gradual increase in volume is effective for phrase melodies that move higher in pitch. For expressively singing
in the opposite direction of melodic contour and for ending a phrase, apply a gradual decrease in volume. In
Amazing Grace, the singer might try to increase the volume to the middle of each verse. In the first verse, the
middle is “wretch like me,” and then after “I once was lost,” decrease the volume until the end of the verse. The
symbol for a gradual increase in volume is the mathematical symbol for greater than, albeit an elongated one.

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The term for gradual increase in volume is crescendo. The symbol for a gradually decrease in volume is the
mathematical symbol for less than. The term for gradual decrease in volume, decrescendo.

7. Practice singing the piece with the Practice/Performance accompaniment music link found on the back cover of the
recorder text. There is a 4-measure introduction plus 2 additional beats before the singer’s part begins on the
pickup.

When Johnny Comes Marching Home

Recorder Text: Section One, page 118; Section Two with piano part,
page131 Practice/Performance Website: Track 70

1. Listen to the track of the accompaniment to develop a sense of the bright tempo and energetic fervor in
expression of this landmark American song composed near the end of the Civil War to welcome home the
returning soldiers.

2. The piece is in 6/8 meter, that is, six beats per measure, the 8th note receives the beat. In a fast 6/8 tempo, the 6
beats are grouped with primary accent on the first beat of the 6, and a secondary accent on the 4th beat of the
measure. The resulting pulse is two beats per measure, not 6. Count the following quickly with emphasis on 1
and 4. 1 2 3 4 5 6, Awareness of the pulse helps to provide accent to the text and musical phrasing of the song.

3. The piece begins with a pickup on the word “When.” Thus, during the singing of the song, “John” (downbeat)
receives the most emphasis in the first full measure of music and the first phrase. An upbeat (“When”) is not
emphasized. Similar treatment of the lyrics occurs throughout the song. For example, each time the word
“hurrah” appears, the “huh” falls on the unaccented upbeat, the “rah” falls on the downbeat of the next measure
and therefore receives emphasis. Singers can take advantage of this for matters of expression. Drop the jaw to
form the “ah” vowel sound and sing the “rah” with gusto.

4. On the word “all,” be mindful of the “L” consonant at the end of the word. It can have an effect on the quality
of singing. Keep an “aw” sound of vowel going without closing on the “L” consonant until the very moment of
closure of the word.

5. At times, speak the lyrics alone to practice articulation. The words of the song must be sung quickly and
clearly.

6. Practice singing the song with the accompaniment found in the Practice/Performance Music, Track 70.

The Ash Grove

Recorder Text Section One, page 65; Section Two with piano part, page 59
Practice/Performance Website: Track 36

When engaged in singing, the shaping of musical phrases for expressive quality is similar to the shaping of phrases
during speech; i.e., the rise and fall of the voice during the reading and speaking of sentences would include a
variety of dynamic levels and emphasis of particular words especially when trying to convey a point or emotion. In
singing, for the most part, the dynamic level increases gradually when the melody moves in an ascending direction
and decreases gradually during the descent of a melody. Some words, dependent on meaning, the contour of the
phrase, the meter and duration of note values and rhythmic emphasis, will also receive emphasis.

Ways to Practice Phrasing in Singing

1. Learn to sing the melody without the words on a “loo” or “lah” syllable. This provides the singing with the
ability to concentrate on purely the musical aspect of the contour of the melody including the rise and fall of the
melodic line.

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2. When you are familiar with the melody, still singing on a syllable without the lyrics, add louds and softs
according to the direction and contour of the melody.

3. Say the words without singing according to expressive emphasis.

4. In the music, mark the places where you will breathe according to what makes musical sense and also spoken
language sense.

5. For The Ash Grove, the places of “breath” you will want to work for are listed below. This will require
substantial work on the development of breathing technique and breath support and control of the tone:
In Line 2, breathe after the word “speaking”
Line 3, after the word “me”
Line 4, after the word “breaking”
Line 5, after the word “me”
Line 6, after the word “me,” then, if needed, take a quick breath (called a “catch” breath) after the
word “mem’ry”
Line 7, after the word “roam”
Line 8, after the word “me”
Line 9, after the word “home”
6. Sing in a smooth manner connecting the ends of words to the beginnings of the next word when appropriate.

7. Use the consonants to focus on the vowel and remember to sing the pure vowel sound – no changing of vowel
sounds in the middle of the word. Watch out for diphthongs on long “a” and long “i” vowels in words like
“graceful” and “plainly” and “my.”

8. Be aware of the form for expressive purposes. The song is in AABA form. To show variety, change the
dynamic level in section 2 – the repeat of A. Show increased dynamic level and excitement in the B section and
then pull back a bit on the return of A in section 4.

9. Practice for clean and clear articulation by saying the words, with expression, in the same tempo that you will
sing the piece.

10. Practice the piece with the accompaniment provided on the practice/performance website (Track 36)

All through the Night

Recorder Text: Section One, page 71; Section Two with piano part, page 64
Practice/Performance Website: Track 39

Folk music song style is most often sung in the middle singing range and/or sometimes recorded by singers in
middle voice or chest voice (lowest) range. Folk songs most often come into being because individuals or groups of
individuals desire to express a life circumstance. Sometimes, the experience is deeply personal however expresses
an aspect of the “human experience” in a way that has meaning to countless individuals. Other folk songs reflect
shared experience and circumstances often arising from cultural-historical contexts. Yet other folk songs portray a
society at any point in time thus providing current generations with snapshots of the mindset of a society or portions
of the society at particular points in history. Still other folk songs come into being for fun and social sharing.
Folksongs that are humorous can provide groups with countless hours of enjoyable, social interactions especially in
the way of improvised additional verses.

Fretted and string instruments are often the instruments of choice for folk music sing-a-longs. Fretted instruments
are much easier to move to the outdoors for campfire sings or to transport to a friend’s home. Folk singing style is a
more flexible style of singing since numerous variations of songs exist in hand-me-down oral form. Singers
personalize the musical and expressive singing of this body of songs with original improvisations on the melody and

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harmonies. When singing along with a fretted instrument like guitar or ukulele, the singer usually sings the melody
while the chords are played to harmonize the melody.

When singing with children, it is of the utmost importance to sing songs in their range. Children’s vocal ranges are
approximately the same as the middle range for female adult singers. Children cannot sing the low tones of the adult
female chest voice range. The larynx has not developed to the point that this is possible. For young children, the
vocal range is from B below middle C to A above middle C. For children age 8 and older, the range is
approximately from Bb below middle C to the C and D one octave above middle C. The male changing voice range
is approximately A below middle C to E above middle C. Due to growth changes in the larynx, adolescent girls’
voices can also change somewhat in range and sound. With careful nurturing of the adolescent vocal capacity, girls
and boys are able to expand their range to sing higher, lower, or in both.

Practice the song without any support in the melody part from the fretted instrument accompaniment. A usual setting
for a folk song version of the Welsh song All through the Night would be some kind of folk harp or a guitar player
providing the chords (harmony) for the melody while singers sing the melody. The instrument would not necessarily
double the melody line.

All through the Night can be sung in a folk singing style either a cappella, with a folk instrument, or with the piano
accompaniment as provided in the text. Part two is the melody of the piece. Find a friend to sing the descant (Part I)
or have an individual play the descant on recorder while you or others sing the melody. Take turns playing and or
singing the parts of the piece in different ways. To work on the singing style, keep the following in mind.

1. Sing the song with substantial breath-support and projection of the tone from the middle singing range.

2. Sing the song with emphasis on the vocal melody line.

3. Sing the song with carefully, articulated diction. The song is soft so clarity in diction is particularly important.

4. Sing the song with sensitive expression. One historical search revealed this possible context: a mother or father
sitting at the bedside of their sick child. It appears obvious what happens to the child since the songs tells a story
from the voice of the mother/father and a narrator. The song should be sung with an expression of peace,
comfort and hope in a better place beyond what the physical world has to offer.

Two Songs in Art Song Style for Development of the Head Voice and Upper Range

Canción de Cuna
Recorder Text: Section One, page 51; Section Two with piano part, page 45
Practice /Performance Website: Track: 29

Singing a melody without support from an instrument accompaniment, e. i. without the instrument playing the
melody line for the singer is less difficult in singing folk music such as it is in more complex songs. One form of
Western music classical song is art song form. An art song composition is an artistic creation whereby the melody
line of the singer and the second instrument part (most often piano) are different for purposes of expression of the
lyrics or poetry and to make an artistic whole. This is different than the usual singer part with piano accompaniment.
In art song style, singer and instrument are equally important toward the overall artistic purpose. Although the
melody for Canción de Cuna is a folk melody, the arrangement of the song in the text is in art song form. The
melody line must be thoroughly and expressively learned by the singer and sung with traditional Western vocal
technique before singing the piece with the accompaniment. The highest tones in the song will require “head voice”
or upper range singing.

1. Listen to the recording of the piece to become familiar with it

2. Practice the Spanish diction for the piece without singing

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3. Warm up the head voice by making siren sounds that go up into the high register of the voice. Thinking,
“siren sound” or “oo” sometimes helps to find the placement of tones in the upper range.

4. For further warm up of the head voice, sing on the “oo” vowel sound (as in the word tooth) by tossing a small
ball into the air above the head and then allowing your voice to follow the upward direction of the ball.

5. Learn to sing the melody of the piece on a syllable (loo or lah).

6. Practice singing the melody with the words, without the piano part.

7. Practice singing the song with the piano part provided on the Practice/Performance Website, Track 29.

8. Enjoy working on aspects of expressive singing according to the dynamic markings in the piece, marks of
expression and tempo, and your own ideas for expression.

Loch Lomond
Recorder Text: Section One, page 121; Section Two with piano part, page 136)
Practice/Performance Website: Track 72

A second song in art song style is the arrangement of the beautiful Scottish song Loch Lomond. The vocal
arrangement of the song provided here requires singers to sing a few notes that are quite high for middle range
singers. In order to learn to sing these tones with ease, practice several exercises on the “oo” vowel gradually
working into the head voice area of the voice.

1. Warm up the head voice by making siren sounds that go up into the high register of the voice. Thinking, “siren
sound” or “choir voice sound” sometimes helps to find the placement of tones in the upper range.

2. Further warm up the head voice on the “oo” vowel sound (as in the word tooth) by tossing a small ball into the
air above the head and then allowing your voice to follow the upward direction of the ball.

3. Isolate the high notes and speak them in the head voice (like the sound of Snow White’s voice on the song Some
Day My Prince Will Come from the Disney movie Snow White)

4. Practice breathing technique separately to prepare to support the high tones. Breathe deeply through the nose or
as if you are sucking through a straw with a mighty sucking action, then let out the air gradually on an “s”
sound. Make the breath last as long as possible. This will help to build the muscles for correct support of the
tone and will help singers to learn how to sing a tone supported by the breath.

5. ONLY sing high notes with much breath support underneath the tones. Sing the high tones in the head voice
supported by the breath. Concentrate on allowing the breath to leave the body at the same time the words and
tones of the melody are sung. In other words, the breath should support the efforts to sing. That’s singing!

6. For inspiration and expressive delivery of the meaning of the song, look up the interesting history on this Celtic,
Scottish folk song.

7. Pronounce the Celtic word braes with a long “a” vowel.

8. Practice Loch Lomond with the Practice/Performance Website, Track 72. Remember to wait for the piano
introduction before singing the song with the music.

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Lesson Plan, Embedded Assessments, and Additional Resources

There are many excellent models of lesson plans. Regardless if a lesson plan template is found in
a textbook, designed and required by a school district, designed to align with handbooks
published by a national performance assessment company, a particular format taught in an
education class at a university, or one of an individual’s own design, a good lesson plan will
have three ingredients at the core:
1) A plan inclusive of stated goals/objectives and desired student outcomes
2) A design of instruction as to how this will be accomplished that includes a list of the
necessary materials and resources for the instruction
3) A determined plan as to how to assess and evaluate student learning
The plan should also specify what children, youth or adults should know or be able to do before
engaging in the teaching and learning as articulated in the plan. A logical order of the necessary
steps for instruction or context building scripts to prepare students for group learning should be
included in the written description of the design for instruction. Where necessary, teaching and
learning scripts and/or lists of questions to facilitate discussion and learning can be included as
priming activities or in the instruction portion of the plan. Inclusion of lists of materials,
resources, and electronic links that will be used in the teaching and learning segment save an
educator time and the stresses of less organized means of compiling materials. The plan for
assessment, expected levels of achievement, connections to other subjects, and creative
application of learning might also be included in the plan. A plan might reflect one objective or
outcome, or a primary objective along with secondary objectives and outcomes. In
interconnected teaching and learning, there might be several objectives that are almost equal in
importance.2 A model of a lesson plan is provided below.

The following plan is an example of music specific, sequentially-ordered, interconnected

teaching and learning in soprano recorder playing, music reading, ensemble playing, and
composing. The plan includes an example of embedded assessment. The embedded assessment is
an opportunity for students to demonstrate their learning via the process of applied problem
solving and creative thinking. The resulting written product will be a representation of students’
levels of understanding of the teaching and learning content experienced prior to the assignment.
The assignment is a direct outgrowth of the teaching and learning experiences in the classroom,
the lesson content and curriculum goals – i.e., embedded into the knowledge and skills
experienced during instruction. In music, when the task involves improvisation and/or
composition, the author’s term for embedded assessment in this and other publications is called
creative application. The Creative Corner assignments in Playing the Soprano Recorder are
examples of creative application. In the terminology of the National Coalition for Core Arts
Standards, Creative Corner assignments are Model Cornerstone Assessments.

2  From
Music in the Elementary Classroom, K-6, 3rd Edition music education course materials/text prepared by Lois
Veenhoven Guderian © 2017.

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Embedded Composition: Creative Application in Traditional Soprano Recorder Teaching and Learning
Sequentially Ordered Interconnected Teaching and Learning in Music

Lesson Plan for Grade 4 or 5 or Beginners in Music Reading and Soprano Recorder Playing of Any Age3

Enduring Understanding: Individuals learn musical skills and understandings that enable them to read music, and
play and create music that others can share.

Essential Question: How do individuals learn how to read music, play, create and notate music?

Creative Conscious: I can create music that others can play

Prior Learning Needed to Complete this Lesson

Students need to have the cognitive development and fine motor skills development of a 9-adult age individual to
complete this lesson. No prior formal learning in music or soprano recorder teaching and learning is necessary.

Goals

Students will develop understanding and skills in how to play the soprano recorder
• How to hold the recorder
• How to cover the holes with the fingers and blow into the recorder
• Fingerings for playing particular tones on the recorder
Students will learn the basic principles of how to read music in Western Music practices
• How to follow the music from left to right
• How to identify and count the note values
• How to read music on the staff, in printed texts and on interactive boards or charts
• How to play several pieces of music on the soprano recorder
• How to notate music
Students will develop creative thinking in music
• Students will develop understanding in improvising music on soprano recorder
• Students will develop understanding in composing and notating music for soprano recorder

Student Learning Outcomes

Students will demonstrate how to play the soprano recorder

• How to hold the recorder
• How to cover the holes with the fingers and blow into the recorder
• How to play particular tones on the recorder (G, A, B, or more)
Students will demonstrate the ability to read and notate music in Western Music practices
• Students will read and play the notation for their own piece and the pieces of other children on the soprano
recorder (G, A, B pieces)
• Students will compose and notate a piece according to lesson content criteria
Students will demonstrate creative thinking in music
• Students will compose and notate a G, A, B piece for soprano recorder
• Students will improvise a 2-bar answer to a 2-bar musical question (8 beats)

3  As  presented  at  the  National  Association  for  Music  Education  National  Conference  in  Nashville,  Tennessee  on  October  

28,  2013  and  subsequent  NAfME  webinar  broadcast  November  2013.  ã  2013,  Lois  Veenhoven  Guderian

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Artistic Processes and Content Areas Addressed

• Performing on instruments, alone and with others, a varied repertoire of music.

• Improvising melodies, variations and accompaniments.
• Composing (Creating) and arranging music within specific guidelines (learning structures/frameworks created
by the educator).
• Reading and notating music.
• Listening/responding to music, analyzing, and describing music. (in the priming activity)
• Evaluating music and music performances.

Materials

Children will need:

• Music stands
• Music text (PTSR) or other recorder materials
• Soprano recorders
• Plain and staff paper
(plain paper to compose pieces in semi-iconic form of Western notation; staff paper for lessons after Lesson I to
transfer the semi-iconic form of the notated compositions to the staff after the students have learned about staff)
• Desks or lap desks for writing
Teachers Will Need:
• Recorder and recorder text or materials or download
• Interactive Board or Document Camera with Screen
• Practice/Performance website for pieces in the text (or play accompaniments in real time for students)
• Piano or keyboard (optional)
• Plain and staff paper
(plain paper to compose pieces in semi-iconic form of Western notation; staff paper for lessons after Lesson I to
transfer the semi-iconic form of the notated compositions to the staff after the students have learned about staff)
• Recording or download: Vivaldi Recorder Concerto #443 movement 1
Priming Activity

Listening activity: Excerpt from Vivaldi Recorder Concerto RV #443 or other. Brief priming script with inquiry:
“Please listen carefully to the piece of music that you are going to hear. It is a piece for orchestra and solo
instrument. What kinds of instruments are in the orchestra? Listen carefully for the solo instrument. What is the solo
instrument? (Students often answer, [flute, or piccolo]. You are very close to the answer. That instrument is a cousin
of the solo instrument you are hearing. Any other ideas? Yes, a recorder, and in this case, it is a very small recorder
called a sopranino. Are there other instruments that are similar? Do you know that recorders come in different sizes?
(Show and demonstrate how to play the same short piece on a variety of recorders.) This one is called, hmm, does
anyone know? Yes, a soprano recorder.”

Use of Inquiry to Transition to Hands on Teaching and Learning Segment: “Do you think the person playing
the recorder had to learn how to play and practice the recorder?” “I think you all know that we are going to learn
how to play the recorder today, correct?” “May I have some helpers to pass out the recorders?” At this point, before
the students have the recorder in hand, establish your rules and procedures for recorder playing such as no playing
when the educator or student is talking as part of class discussion or instruction; no playing close to someone’s head
or ears, and remind the students of classroom rules for working together in whole or small groups.

Sequence of Interactive Instruction

Begin with the Basics

• Using modeling techniques, demonstrate and engage students in how to hold, and blow into the recorder
• In “my turn, your turn” modeling, demonstrate and engage students in tonguing technique for the soprano
recorder.

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• Show students the soprano recorder finger numbers on the hand and the fingerings for G, A, and B on recorder.
This procedure can involve a game for remembering the finger numbers. “When I hold up a finger, see how fast
you can respond with the correct finger number.”
• Engage students in modeling/imitating exercises by providing a 2-measue phrase of music and indicate to the
students when they should respond with the identical “echo.” For this “my turn, your turn” exercise, use only
the tones G, A, and B. Over the course of several days, provide numerous whole group experiences in this
activity for a few minutes each day at the start of instruction. At times, establish an order of response. Let the
students know you will indicate with your eyes when it is their turn to respond. Go around the group quickly
maintaining a steady beat as is possible.
• After substantial practice with echo phrases, provide students with a 2-measure phrase (call it a question)
indicating that each individual should respond with a 2-measure improvised “answer.” This will provide
groundwork for subsequent lessons that include improvisation and groundwork for composing original pieces
with G, A, and B – the Creative Corner assignment or Model Cornerstone Assessment.
• Using the text, modeling techniques and the interactive board, engage the students in learning activities that
help them to learn the note values for quarter and half notes. Clap and play the rhythms of the exercises in the
text that contain the note values. Count aloud with students while clapping the exercises.
• Clap and say the rhythm patterns before playing the patterns of the exercises and pieces with the tones G, A,
and B
Purpose/Intention for Reading Music and Playing Recorder (Music Literacy)
To begin teaching and learning in traditional music literacy, begin music reading activity by displaying the
page on an Interactive Board or use a document camera and screen. Point left to right while students play
G, A, B pieces and begin to read music. If electronic display is not available, have students follow along in
the text while the educator circulates and shows students the direction of reading music in the text, and
checks to see that students are holding the recorder correctly, blowing into the recorder correctly, and
demonstrate understanding of reading the music in the correct direction.
Culmination of the Learning Segment
• Continued to clap and say the rhythm patterns of the pieces and the letter names of the pieces. Then play the
music pieces while pointing left to right underneath the notated music to help students to follow the music
while students play.
• Follow the same process for all of the G,A,B pieces in Lesson I.
• Initially model, and periodically model the playing and fingerings for each piece throughout the teaching and
learning process.
• At times, have students say the notes aloud while playing the piece silently; i.e. without blowing into the
recorder
• Reinforce these procedures during numerous playing/practicing of exercises and pieces making sure to provide
students with numerous opportunities to apply the instruction through playing. Add the piano accompaniment
while students play, to help students to play within a steady beat, to develop the ear, and for aesthetic
experience.
Assessment and Evaluation

Informal/formative

Constantly observe and listen to students to make sure students are holding and blowing into the recorder correctly,
especially checking to make sure a student’s left hand is on the top half of the recorder, that students are fingering
the tones correctly, and clapping and playing the patterns and pieces correctly. Provide help where needed. Use a
rubric or checklist for formal evaluation.

Connecting the Lesson (Provided on Day 2 Before Engaging in the Embedded Task)

Review all from Day 1 before going on to the creative, embedded composing task/assessment. Dependent on the
duration of the time for the class (30 minutes, 40 minutes, etc.) the embedded task assignment might be the central
focus of the lesson on Day 2, Day 3 or Day 4. For older students, the Creative Corner assignment might be given as
a homework assignment. Provide context by engaging the students in a discussion about how individuals compose

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music. Play related listening examples and use inquiry as in the priming activity to guide students to various
understandings.

Embedded Task

After reviewing and practicing all teaching and learning from Day 1, according to the criteria provided in the
Creative Corner assignment, engage students in composing their own pieces. Be sure to go over the criteria for the
assignment on page 5. Provide additional context and understanding for the assignment by discussing concepts that
are part of the composing process such as repetition and contrast in music composition, exploration and
experimentation of musical ideas. Refer back to the recorder concerto by Vivaldi used as part of the lesson “hook.”
Play an excerpt from the piece and play additional recordings of recorder music, and play additional recordings of
pieces that include recorder. A famous modern piece is the piece Adiemus by Karl Jenkins. Encourage students to
explore patterns in review of “my turn, your turn” of patterns, by review of question and answer improvisation
activities, and by pointing out to the students that each piece they learned to play in Lesson I is an example of the
assignment they are asked to complete.

Working out Process of the Embedded Task

Allow children and older students with options to work individually, in pairs or in small groups. For the first
Creative Corner assignment, paired and individual groupings will provide more information for the educator on
each student’s level of understanding. Provide scaffolding as described below.

Scaffolding

Circulate as the students work, observing and offering help and scaffolding as needed. Show interest in the
students’ work and ask questions as you circulate. If students are very engaged in the working out process, and if
you can quietly observe that the student appears to understand the assignment, allow the student to work without
your interruption to their thought processes. You can demonstrate interest when you see that the student has reached
a pause in the process or has finished. See sample questions and comments below.

“Tell me about your piece.” “Have you tried playing your piece?” “Would you play your piece for me?” “May I
play your piece with you?” How would you like your piece played? Have you thought about adding dynamics – the
fortes (louds) and pianos (softs)?” “What is the name of your piece?” “I notice you have written 8 quarter note G
tones in a row. That makes for interesting repetition. Do you have a plan for creating contrasting music to this part?
What might you write that would make an interesting contrast to your G-tone music? Have you explored possibilities
with patterns that include tones A and B? Composing music that includes half notes would also provide contrast.”

Provide help where needed. Example: if the student is not able to play the rhythm of their piece correctly, use
inquiry to engage them in thinking about the work or note values they learned. Clap the rhythm and play the piece
with or for them. Then engage the student in thinking about what they have written and how it sounds. “Is that what
you had in mind?" "Do you want to leave the piece that way?" "Are there any other ideas you want to explore?" "Is
there anything you want to change?”

Notation

If the educator observes errors in the notation, to lead students to understandings as to the purpose of notation and
for their growth in the ability to read and write traditional music notation, the educator can continue to ask a student
questions about what the individual has written; or provide suggestions for the notation. Since the development of
music reading ability is one of the goals here, attention to rules of notation are appropriate in this creative teaching
and learning context; however, not in rigid adherence to rules, rather in balance with the overall process of creating a
piece of music that the individual will be able to share and others will be able to play. The greater emphasis should
be placed on creative thinking in music and the exploration of and experimentation with musical ideas. For helping
students to evaluate and refine the notation of their music, see the sample questions below.

“You have written an interesting and exciting piece for the whole class to play." "Would you like to make the music
easier for the class to read?" "For the G note, on which side should the stem be placed?” “What is the direction of
the

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stem from the note-head?” “Let’s look at the pieces in the text to see how the stems are written." “Are all your
stems written correctly so the class can read and play your piece?”

Sharing/Sight-reading the Compositions

Compile the finished pieces students have composed for whole class sight reading and sharing or share by way of a
document camera or interactive board music with notation programs. At a later date, students can learn how to
notate their composed pieces using a notation program. Have all the students in the class sight-read the original
pieces each individual, pair, or group has composed. Be sure to establish a steady beat and provide students with a
count off before beginning to sight-read each piece. For the most part, suggestions for correction of notation should
be made during the working out process. For purposes of a differentiated way to develop understanding for notation,
an educator can compose an example of a piece that has errors and use this to draw students’ attention to notational
rules. The educator can ask for suggestions that would improve the manuscript on the display.

Optional: During the playing/sight-reading of students’ pieces, add simple accompaniment with the I and V or V7
chord to help steer the whole class sight-reading and to maintain the beat. Keys of G major and A minor are the
mostly likely keys that will be the result of explorations with G, A and B tones and patterns.

Additional Strategies and Possibilities for Assessment and Evidence of Student Learning

Assessment Measures
Criteria checklist with comments
Rubric assessment of students’ music reading and playing ability
Rubric assessment of composition (See samples of assessment measures below)
Formative #1: Observe students’ reading and playing of pieces both text-based and original

Formative #2: Students’ notated compositions are an assessment

Summative: Use various kinds of rubrics and forms of assessment for assessment and
evaluation of students’ creative products and applied work in playing, music
reading and music theory. Some examples are provided below.

Formal Assessments

Possibilities for rubric assessment and suggestions for evaluation of students’ creative work are
provided below. The rubrics are aligned with the criteria of the task. The tasks are very basic and
therefore the rubrics are very basic since the assigned task – applied composition – will be new
for most students. As students increase in their sophistication of learning in composition, and the
assignment criteria becomes more complex, the rubric assessment and evaluation will also reflect
the more sophisticated level provided in the criteria of the assignment.

Example #1 below is suitable for use with students in the beginning stages of their studies. It is
especially useful with younger students since there is no letter grade assigned. The point of the
assessment is to inform the student, educator and parents on the student’s progress and what the
child can do to grow in their ability to create and notate music. Students’ creative efforts should
always be recognized, encouraged and nurtured. Even if a student’s understanding initially
allows for only random selection of ideas and tones written on a piece of paper, this still is a
point of departure. When an educator or whole class plays the piece, or an educator asks a child
to play their piece, the piece and process of the writing take on new meaning. Playing and

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hearing the results of the random writing is a learning experience. The child realizes that he/she
has the power to not only write music for others to play, he/she has the power to change the
music according to their liking. Children and older students are much more inclined to want to
engage in the exploration and experimentation processes of working with the musical materials
when they become aware of this potential. Most children will initially want to create their own
piece with or without the understanding that is necessary for thinking in the ways composers
think. Humans enjoy being creative and the prospect of writing their own piece is interesting and
seems like fun. It also provides children with a sense of autonomy, a sense of responsibility and
part-ownership of the teaching and learning. Educators can capitalize on this characteristic in
children and help them to grow in their understanding and ability to compose music with
thoughtful intention.

As mentioned previously, even a student’s random selection of ideas and tones written on a piece
of paper can be a point of departure for learning to write music that demonstrates musical
understanding and creativity. In an 18-week study with 5th grade children, one 5th grader out of
fifty in two general music classes was reluctant to try to compose a piece after group studies in
Lesson I of Playing the Soprano Recorder. He/she was skeptical of his/her own understanding as to
having the ability to complete the task, however made a go of it acknowledging the somewhat
randomness of their product. The piece appeared random in quality yet not void of thought in the
creation. Hearing others play the piece, receiving positive comments on various aspects of the
piece was encouraging for this child and a point of departure for writing numerous pieces during
the 18 weeks that demonstrated continued growth and understanding in the ability to create and
notate music. The same child, when given a questionnaire at the end of the study in which the
children were asked to honestly provide their opinion on the most and least favorite music making
activities during the study, this child (and almost all of the children in the experimental group who
received the Creative Corner composition assignments as the study treatment) said his/her favorite
activity was “composing,” because he/she was allowed to “express himself/herself,” (Guderian,
2009).”
Example #1
Composition Rubric
Recorder Piece Completed Did not complete
+ Exceeds Expectations
S Satisfactory
-
Student Name
Meets the Criteria of the Assignment +
Notation S
Musical Interest +
Comments

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Example #2

Recorder Needs
Excellent Satisfactory None
Composition scaffolding
Student Name
Used G,A,B X
Used Quarter
X
& Half notes
Length 8 to 16
X
beats or more
Able to play X
Friends play X
Title X
Additional You started your composition in the key of G and ended it in measure #7 on an A. You might
Comment want to try ending in the key that you started. That is one traditional way to write an 8-measure
piece or song. If you add an 8th measure and end on a G, you might find the balanced sound
appealing.

Example #2 above provides more information for both the student and the educator. The criteria
that is included in the rubric is exactly the same as the criteria for the assignment. It makes it
possible for an educator to objectively and quickly assess a student’s work without addressing a
child’s creativity or musicianship. Trying to grade an individual’s creativity is dangerous
territory especially when the aim is to nurture creative thinking and creative potential. It is the
belief of this author that matters that border on the subjective and personal should be avoided in
this work. There are ways to steer students toward understanding how to produce a more creative
and musical product without directly addressing their levels of creativity and musicianship.

Drawing students’ attention to unintentional aspects of their work is one way. The comment
below in Example #3 refers back to ideas learned in the learning segment leading up to the
creative assignment and thus, reinforces a student’s efforts by letting them know he/she is on the
right track. Students learn quickly from such comments and are reminded of concepts learned in
the preparation. It’s a good thing to explore patterns for composition! In the next piece, it is
common to see an increase in a student’s understanding and intentionality for creating music and
direct use of the concept; in this case, to explore patterns for musical ends is one way to work
with musical materials when creating music. There is no need to comment on the level of
creativity or musical understanding at this point in learning how to create music. The importance
is in the growth of understanding and growth in desire and confidence to continue efforts to
create music.

Example #3 Comment:

“You have explored many possible patterns and ideas with G, A, B. Your piece is fun to play.”

With middle school through adult students who are new to music reading, writing and playing
music, a very basic and understandable way to assess and grade students can be very effective.

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See Example #4 below for an assessment measure that includes 3 important aspects of student
learning and student responsibility for completing the Creative Corner assignment. The educator
explains the criteria for grading at the time of the assignment.

Example #4 Basic Framework for Assessment

Criteria: Did the student meet the criteria of the assignment? If not, what was missing? What
percentage of the criteria is missing? If the student is missing 1 piece of the criteria out of a list
of 5, the percent grade will be 80%.

Notation: If a student has written a piece 16 measures long and there are notation errors in three
of the measures, 3 x 6.75 = 18.25 from 100 = 81.25%. If a student has made the same mistake
throughout, dependent on the error, “B” or “good” quality would receive 85%, “C” or average
quality would receive 75%. Lower than average quality should be resubmitted with the error
corrected. For example, if the student had placed stems on the wrong side of the note heads
through the composition, the composition should be resubmitted.

Interest: Often 100% if the student has completed the assignment with 100% fulfillment of the
criteria and 100% accuracy on the notation. The educator looks for aspects of the piece and
comments on these.

The three percentage grades are then averaged for a grade.

Sample A

Criteria: 100% - "Excellent demonstration of all parts of the criteria for the assignment!"
Notation: 90% "(B stems go down on the left side of the note. This is a music notation rule, not

my rule. Look at the pieces you studied and played in the Lesson. You will notice the
B stems are different than the G and A stems. See Lesson I for the explanation."
Interest: 100% "Very musically balanced, thoughtful decisions and ...a logical

title." "Nice going, Benjamin."

Grade: 96% = A

Sample B

“Good work on the variation of TTLS, Tom." "Below is your feedback.”

1. Criteria: 100% "Your variation meets the criteria of the assignment."

2. Notation: Grade 85% "Your notation is correct, however a little hard to read. On your
next Creative Corner assignment, can you work for neatness or submit using the notation
program we learned in class?"

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3. Musical Interest: 100% You have included an interesting variety of rhythms in your
variation of the melody. The resulting product is musically balanced and pleasantly
snappy.

Overall Grade: 285% pts. div by 3 = 95% = A

Sample C

“Super work on the variations of TTLS, Sally." "Feedback provided below.”

1. Criteria: 100% Your variation meets the criteria of the assignment.

2. Notation: 96% (2 small errors in variation 2: measure #8 missing a stem; measure #12
needs one more beat.) % is based on number of measures of music you submitted and out
of that number (48) you had errors in 2 measures.

3. Musical Interest: 100% "Your variation in ¾ time has a charming lilt and the change in
time signature is a welcome point of interest." Overall Grade: 296 div. by 3 = 98% = A

Authentic Assessment: Summative assessments of the assigned tasks are also authentic because
the goals of the tasks address the ultimate goal of music education: to be able to read, play and
compose music with others in authentic real-life contexts independent of educators. And for
those who will eventually seek careers in music, the teaching and learning in the activities is a
step in the process of the education of that individual. If the ultimate goal of the music teaching
and learning is to help individuals to acquire knowledge, skills and understandings for a life-long
career in music the assessment is authentic in the process to that end. The composition is an
authentic assessment from another viewpoint: the composition assessment is aligned with and an
outgrowth of all of the instruction and learning activities building up to the assignment of the
creative task. The composition product will reveal whether or not the individual has understood
the teaching and learning group activities in music reading, in studies of concepts, and
instruction in playing the instrument that preceded the composing task. The educator, by using a
rubric for evaluation of the student’s work, can provide valuable feedback to students that will
move their learning forward. The rubric will also provide a way for the educator to evaluate the
student’s work for their own purposes of know how to help students. The product of the Creative
Corner assignment will reveal where the student might need additional help or clarification of
the learning content or process. Whether or not a child is able to play their own piece and the
original pieces of other children in the class will provide information on the child’s sight-reading
ability and playing ability; two additional goals of the learning segment.

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio ADDENDUM

Example #5: An example of rubric for beginning levels of composing.

Composition Rubric for Peer, Self, and/or Educator Assessment

RATING SCALE On a scale from one to six, with six being the most positive response

AREAS OF EVALUATION 6 5 4 3 2 1 Comment

1. Fulfills criteria of the assignment

2. Work demonstrates musical understanding of

concepts and notation

3. Notation neat and easy to read

4. Musical application of ideas discussed in

preparation for the composing (comment
only)

#6 = Throughout the composition

#5 = Throughout 90% of the composition:

10% or less mechanical errors or demonstrated misunderstanding of concepts and/or criteria

#4 = Throughout 80% of the composition:

20 – 10 % or mechanical errors or demonstrated misunderstanding of concepts and/or criteria

#3 = Throughout 70% of the composition:

30 – 20 % or mechanical errors or demonstrated misunderstanding of concepts and/or criteria

#2 = Throughout 60% of the composition:

40 – 30 % or mechanical errors or demonstrated misunderstanding of concepts and/or criteria

#1 = Throughout 50% or less of the composition:

50% or more mechanical errors or demonstrated misunderstanding of concepts and or criteria

#0 = Did not complete the assignment

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 PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio ADDENDUM

Example #6: An example of rubric for experienced beginning levels of composing.

Composition Rubric for Experienced Beginners of Music Composition: Peer, Self, and/or Educator
Assessment

On a scale from one to six, with six being the most positive response,
rate yourself or your peer in the following areas

RATING SCALE
AREAS OF EVALUATION
6 5 4 3 2 1 Comments

1. Fulfills criteria of the assignment

2. Creativity-craftsmanship in manipulation or
working out of musical ideas

3. Organization of the piece is understandable

4. Correct use of music signs, symbols and notation

5. Use of expressive markings

6. Final copy neat and easy to read

7. Piece has interest and/or musical appeal

(Comment only)

8. Learns from edited drafts (Comment only)

#6 = Throughout the composition

#5 = Throughout 90% of the composition:

10% or less mechanical errors or demonstrated misunderstanding of concepts and/or criteria

#4 = Throughout 80% of the composition:

20 – 10 % or mechanical errors or demonstrated misunderstanding of concepts and/or criteria

#3 = Throughout 70% of the composition:

30 – 20 % or mechanical errors or demonstrated misunderstanding of concepts and/or criteria

#2 = Throughout 60% of the composition:

40 – 30 % or mechanical errors or demonstrated misunderstanding of concepts and/or criteria

#1 = Throughout 50% or less of the composition:

50% or more mechanical errors or demonstrated misunderstanding of concepts and or criteria

#0 = Did not complete the assignment

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio ADDENDUM

Example #7: An example of rubric for one possible beginning level of playing.

Recorder Piece
Prelude
Grade Comments
Student Name Completed
Penelope + S -
Demonstrates correct hold - Sometimes switches hands
Blowing tech S
Fingering G A B + for G & A -B
Overall Comment One on one needed

Example #8 A possibility for assessing experienced beginning level of playing ability on particular pieces

Name
Name of Piece
Excellent (4) Good + (3) Good (2) Needs Im (1)
Little Bird
Note Accuracy
Little Bird
Rhythmic Acc.
Little Bird
Steady Beat
Aura Lee
Note Accuracy
Aura Lee
Rhythm Acc.
Aura Lee
Steady Beat
Recorder tone
Quality/facility
Observation of
Dynamics

Excellent = 0-2 inaccuracies = A

Good (3) = 2-4 inaccuracies = A-
Good (2) = 4-6 inaccuracies = B
Needs Im (1) = 6-8 or more inaccuracies = C

Comments:

BB
 PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio ADDENDUM

Example #9 One possibility for assessing playing levels novice through intermediate level is
provided in Example #9 below. In this rubric, the educator adds comments particular to each
student that give meaning to the numerical score received.

The meaning of the numerical scales and levels of expectations can and should be included in
most rubrics. Advanced level rubrics for playing, singing and composing are appropriate for
more experienced/advanced players and composers. Advanced level rubrics will include
qualitative descriptions of expectations characteristic of advanced levels of accomplishment.
Although the author of this text designs and uses advanced levels of rubrics to assess student
music majors in higher education, advanced rubrics are not appropriate for beginning levels of
playing and composing.
Example #9

Soprano Recorder Playing Assessment: Excellent = 4; Good = 3; Average = 2; Poor = 1

Recorder = 6 from a possible 24 (6x4% points = minus 24%) = 76% C A good start on this difficult piece,
Morgan. Please see rubric grading below. Each box is worth 4 points.

Excellent Good Average Poor Unacceptable

4 3 2 1 0

3 (the piece has

Pitch Reading an F# in the key
& Playing signature so all
Accuracy Fs should be
sharped.)

Rhythm
Reading 4 (Super!)
Accuracy

Steadiness of
3
beat

3 (Be careful
about
Tone Quality
overblowing on
high tones)

Facility in
3
Playing*

2 (too many
Fluency in
stops and starts
Playing**
throughout)

*Facility refers to ease and proficiency in playing the instrument.

**Fluency refers to number of stops and starts.

Example #10: Below is one example of assessment for adult beginner singers in general music,
or educator preparation classes that use Playing the Soprano Recorder. Although the numbers
provide some indication of level of achievement, the substance of the meaning of the assessment

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PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio ADDENDUM

lies in the comments provided specifically for that student. Students would be aware of the rubric
and level of expectations at the beginning of the semester.

Singing Assessment
21-24 = A
16-20 = B
11-15 = C
7-10 = D (Resubmit)
Voice = 20 out of 24. Each square is worth 4% points. 4x4 = 16 from 100 = 84% Grade: B

"Lovely singing, Amber. Your singing will be especially beneficial to children in your future
classroom. Children learn how to match pitch and how to sing from hearing the singing of adults
and older children in their environments. Continue to work on developing your breath support.
Don’t be afraid to sing out and allow the breath to support your tone. Are you practicing the
breathing exercises with the vocal workout consistently? Learning to develop the breath for
support of the singing voice, and learning to sing on the breath require a life-long commitment
to practice of technique."

Excellent 4 Good 3 Average 2 Poor 1 Unacceptable

Melody reading & pitch accuracy 3

Rhythm Reading Accuracy 4

Vowel pronunciation and diction 4

Breath support of the tone 2

Breathing according to phrasing 3

Ability to sing a melody

4
independently

Creation of rubrics, in alignment with national and state standards for music education and state
standards for teacher excellence, can be developed by examining the aims and content of
standards, and the expected levels of accomplishment, per grade level, published by these
organizations. Educators can design their own rubrics by adapting these resources according to
their own district level curriculum needs and the day to day teaching and learning needs of their
students. The lesson plan provided above is one of many ways to plan instruction using the
materials of Playing the Soprano Recorder. The content of the plan can be easily adapted to the
format of any lesson plan including a plan that reflects the aims of national performance
assessments for educator licensure and/or a National Association for Music Education style plan.
The author uses several formats of lesson plans and rubrics, including several of her own design.

4 Guderian, L. V. (2009). Effects of applied music composition and improvisation assignments on sight-reading ability, learning in music theory
and quality in soprano recorder playing. Dissertation Abstracts International, 69 (11A). (ProQuest, formerly UMI, No. 3331120)

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 PLAYING THE SOPRANO RECORDER: For School, Community, and the Private Studio ADDENDUM

Duet Resource for First Year Soprano Recorder Player and First Year Piano Player

Enjoy working with a friend in learning to play this piece. Learn how to play each part and then
take turns playing the soprano recorder part and the piano part.

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PLAYING THE SOPRANO RECORDER - A Soprano Recorder Music Method MUSIC PLAYLIST

Each piece begins with a short introduction, usually two measures in length.

Track Title Time Track Title Time

1 First Piece 00:38 41 Vive la Compagnie 00:33
2 Now the Day Is Over 00:41 42 A Very Old Tune 01:06
3 Prelude I 00:36 43 Jolly Old Saint Nicholas (Exercise #33) 00:29
4 Stop and Look 00:23 44 Camptown Races 00:34
5 Waltz 00:35 45 Little David Play on Your Harp 01:05
6 Three Gray Mice 00:35 46 Fancy Skip Blues 00:46
7 Looby Loo 00:44 47 Dream 01:47
8 Piece 00:27 48 Battle Hymn of the Republic 01:12
9 Almost a French Folk Song 00:32 49 Sur le Pont d'Avignon 01:01
10 Frère Jacques 00:37 50 Tripleting Along 00:51
11 Hot Air Balloon Waltz 00:41 51 Silent Night 01:05
12 Little Bird 00:39 52 Jingle Bells 00:49
13 Chester 00:55 53 Lully, Lullay 00:57
14 From Brahms' First 00:30 54 Nocturne 00:47
15 Twenty-First Century Minuet 00:35 55 Go Tell Aunt Rhodie 00:44
16 Song Without Words 01:05 56 Du Liegst Mir im Herzen 00:49
17 Prelude II 00:48 57 Dance for Leila 00:46
18 Aura Lee 01:02 58 A Little Warbling Song (R. Schumann) 01:01
19 Burleske 01:16 59 From Heav'n Above to Earth I Come 00:43
20 White Coral Bells 00:45 60 Alouette 00:35
21 Peaceful Evening 00:35 61 Pomp and Circumstance (E. Elgar) 01:16
22 Amazing Grace 00:57 62 My Country 'Tis of Thee 00:37
23 Deck the Hall 00:46 / God Save the Queen

24 Largo (A. Dvorak) 01:21 63 March of the Toy Soldiers (V. Herbert) 01:34

25 Shepherds' Song (L. Beethoven) 01:22 64 Hatikvah 01:14

26 Reminiscent of an Old Dance 00:43 65 Ode to Joy (L. Beethoven) 00:52

27 Brother Come and Dance with Me 01:15 66 There Is a Balm in Gilead 01:46

28 Bird Song at Evening 00:39 67 Barcarolle (J. Offenbach) 02:50

29 Canción de Cuna 01:37 68 Some Folks Do 00:33

30 Jacob's Ladder 00:39 69 Blessing 02:18

31 Playing Statues 00:39 70 When Johnny Comes Marching Home 00:44

32 Joshua Fit the Battle 01:18 71 Greensleeves 00:56

33 Higher and Higher Waltz 00:35 72 Loch Lomond 02:11

34 The Tie 00:38 73 Parson's Farewell 00:44

35 Wake, Awake, for Night Is Flying 01:21 74 The Trout (F. Schubert) 01:12

36 The Ash Grove 01:32 75 Swing Low, Sweet Chariot 01:15

/ Nobody Knows the Trouble I've Seen
37 Andante (F. Haydn) 00:35
76 Mi Y'malel 01:16
38 Allegretto Scherzando (L. Beethoven) 00:40
39 All Through the Night 01:13
40 Irish Dance 00:45