Prepare, Practice, Present

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Prepare, Practice, Present: A “Sound Before Sight” Approach to Recorder

Presented by: Rachel Grimsby, Ph.D. Candidate

Michigan State University

Sponsored by

GIA Publications, Inc. Chicago

“Singing is the instinctive language of the child.” -Zoltán Kodály

Singing Games (1937)

“Vocal proficiency should be developed before instrumental applications.” -John Feierabend (1998)

Sequence of Units

Unit 1- du and du-de Unit 6 - quarter rest Unit 11- fa Unit 2- du-da-di and du• Unit 7 - half note Unit 12 – D major Unit 3 – du di Unit 8 – dotted quarter rest Unit 13 – du da/ C Major Unit 4 – do re mi* Unit 9 – dotted half note Unit 5 – sol Unit 10 – la

How to use this Method

1. This method may be used by teachers who are unfamiliar with the 12-step process of Conversational Solfege but are looking for a sequential teaching method that promotes music literacies and builds a foundation for instrumental performance skills.

2. This method may be used by teachers who are familiar with Conversational Solfege and wish to begin recorder instruction with Unit 4. Teachers should use the recorder to reinforce the 12-step process for each unit.

Things to Remember

1. Be sure the ear is in place before the instrument is in hand. 2. Speak/Sing before playing patterns/songs on the instrument. 3. Sing/Play for the students, not with the students. 4. Developmental not Chronological

Music Literacy

"Doing" Music

"About" of Music

Conversational Solfege – Level 1 General Music

TM 87

42

42

42

42

42

42

42

42

œ œ œœ œ œ

œ œ œ œœ œ œ

œ œ œ œœ œ œ

œ œ œœ œ

œ œœ œ œ

œ œœ œ œ œ

œ œ œœ œ œ

œ œœ œ œ

1.

2.

3.

4.

5.

6.

7.

8.

Patterns Set 1A

SRB 5

Unit 1

Teacher Manual Lev1-wassmt-new 5/2/2001, 11:16 AM87


TM 94

42 œ œ œ œ1. I have lost my

œ œ œclos - et key

œ œ œ œin my la - dy’s

œ œgar - den.

œ œ œ œI have lost my

œ œ œclos-et key

œ œ œ œin my la - dy’s

œ œgar - den.

Closet Key

SRB 10

2. I have found my closet key.In my lady’s garden.I have found my closet key,In my lady’s garden.

Unit 1



TM 127

Two, Four, Six, Eight

42 œ œTwo, four,

œ œsix, eight,

œ œ œ œMeet me at the

œ œ œgar - den gate.

œ œ œIf I’m late,

œ œdon’t wait,

œ œTwo, four,

œ œsix, eight.

SRB 27

Unit 1


TM 238

&&&&&&&&

bbbbbbbb

42

42

42

42

42

42

42

42

œ œ œœ œ œ œœ œ œœ œ œ œœ œ œ œœ œ œœ œ œ œœ œ œ œ

œ œœ œœ œ œœ œœ œ œœ œ œœ œœ œ

1.

2.

3.

4.

5.

6.

7.

8.

Patterns Set 4C

SRB 93TM 235

&&&&&&&&

bbbbbbbb

œ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œ

1.

2.

3.

4.

5.

6.

7.

8.

Patterns Set 4A

SRB 91


TM 239

& b 42 œ œ œ œ1. I have lost my

œ œ œclos - et key,

& b œ œ œ œin my la - dy’s

œ œgar - den.

& b œ œ œ œI have lost my

œ œ œclos - et key,

& b œ œ œ œin my la - dy’s

œ œgar - den.

Closet Key

SRB 94

2. I have found my closet key,In my lady’s garden.I have found my closet key,In my lady’s garden.

Unit 4



TM 241

& b 42 œ œSnail, snail,

œ œsnail, snail,

& b ..œ œ œ œgo a - round and

œ œ œ’round and ’round.

Snail, Snail

SRB 96

Children hold hands in a circle. One person, designated as the leader, takesthe line on an inward spiral. When well wound, the leader takes the line onan outward spiral traveling between the rows of children still on the inwardspiral. When finished, the circle will be facing out. Perform another inwardand outward spiral to bring the children back to facing into the circle.

Try singing in canon two beats apart.

Unit 4


TM 242

&&&&&&&&

bbbbbbbb

86

86

86

86

86

86

86

86

œ œ œ œ .œ jœ œ .œ œ œ œ œ œœ jœ œ .œ œ œ œ œ œœ œ œ œ .œ jœ œ jœœ jœ œ jœ

œ œ œ œ .œ jœ œ .œ œ œ œ .œ jœ œ .œ œ œ œ .œ œ œ œ .œ œ œ œ jœœ jœ œ .

1.

2.

3.

4.

5.

6.

7.

8.

Patterns Set 4D

SRB 97

TM 247SRB 102

4. Why do you hate me?...5. Because you stole my necklace....6. What color was it?...7. It was gold....8. Here is your necklace....9. Now we’re getting married....


TM 248

&b

8

6

œ œ œ œ

j

œ

Moth-er, may I go

œ

j

œ .œ

out to swim?

&b œ

j

œ œ

j

œ

Yes, my dar - ling

.œ .œ

daugh - ter.

&b

œ

j

œ œ œ œ

Hang your clothes on the

œ œ œ œ

j

œ

hick - o - ry limb, but

&b œ

j

œ œ

j

œ

don’t go near the

.œ .œ

wa - ter.

SRB 103

Mother, May I Go Out?

Steps and Techniques

Readiness and Conversational Rote

1. Echo Me 2. Knowing When Not to Play 3. Human Recorder 4. Hoop Game 5. Who Plays What?

Conversational Decode Familiar/Unfamiliar

1. I’m Thinking of Something 2. Now Hear This 3. Mixed Signals 4. Forbidden Pattern

Create

1. Question and Answer 2. Drop Add 3. Walk the Plank 4. With Familiar Rhymes* 5. Work that Tone

Read Rote

1. Read from a projected image 2. Read from a flashcard

Reading Familiar/Unfamiliar

1. Read in Canon 2. Secret Patterns 3. Stop and Go 4. Antiphonal Reading 5. Hand Staff

Literature Applications

feierabendmusic.org

Facebook/Feierabend Fundamentals The chief aim of the Feierabend Approach is to build community through music by evoking enthusiastic participation of all people. To that end this approach strives for all people to become tuneful, beatful and artful through research based and developmentally appropriate pedagogies that use quality literature. Ideally begun in early childhood, these goals remain of primary importance at any age as they serve as the foundation for all further musical development. Accomplish these goals by first learning authentic folk songs and folk dances (music and movement created by a community for the purpose of encouraging community participation). Further the understanding and appreciation of music through making connections from folk songs and dances to masterworks. Learning notation, playing instruments and giving performances are secondary goals and should be introduced only after individuals become tuneful beatful and artful. Present notation only after rhythm and melodic elements are aurally (conversationally) understood through the use of rhythm syllables and solfege syllables. Express music through instruments rather than use instruments to become musical. The mission of the Feierabend Organization is to promote and create print and electronic resources that further develop these ideas, to promote seminars and teacher certification training that encourage these ideas and to organize regional, national and international conferences that proliferate and expand on these ideas.

Rachel is a passionate educator, with experience teaching elementary general music and choral music. In 2002 she earned her Bachelor of Music in Music Education from East Carolina, and in 2010 graduated from The University of Hartford’s Hartt School of Music with a Master of Music Education. Rachel is a A.B.D. at Michigan State University where she is a graduate teaching assistant, oversees undergraduate student teachers, and serves with the community engagement program. Her research interests include the professional development and collaborative needs of in-service teachers and paraprofessionals, course work for undergraduates and graduate students in teaching music to students with disabilities, music and language acquisition in students with disabilities, and how music may benefit those with language delays. Rachel is the co-

author of two publications; First Steps in Music with Orff Schulwerk, and Feierabend Fundamentals: History, Philosophy, and Practice. She has also been published in the Orff Echo and the Journal of Music Teacher Education. Rachel is fully certified in Kodály, Orff, and holds GIML Elementary I and II certificates. She also is a teacher trainer for both First Steps in Music and Conversational Solfege Level 1 and 2. Rachel is a member of AERA, AOSA, GIML, OAKE, NAfME, and is a founding member of FAME. She lives with her husband and two children in Lansing, Michigan.

Documents

Prepare, Practice, Present