Playing the Soprano Recorder: For School, Community, and the Private Studio

353 Pages·2017·10.623 MB·English

by  Lois Veenhoven Guderian

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
O v e r v i e w
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