Section 17: AOSA Teacher Education Curriculum Standards Recorder Standards: Level II

V 1.1 F / March 29, 2013 Edited by Laurie C. Sain

TABLE OF CONTENTS Introduction ...... 2 Teacher Education Curriculum Standards Recorder Level I: Learning Objectives ...... 3 Teacher Education Curriculum Standards Recorder Level II: Learning Outcomes ...... 7 Learning Outcomes Summary ...... 7 Learning Outcomes Detail ...... 7

AOSA: NBT-Draft Curriculum Standards Recorder Level II Page 17-1 Copyright © 2013 by the American Orff-Schulwerk Association v 1.1 F / March 29, 2013 Introduction This document outlines the learning outcomes and learning objectives for Recorder: Level II of Orff Schulwerk teacher education. The outcomes and objectives have been separated into two sets of matrices: learning outcomes and learning objectives.

AOSA: NBT-Draft Curriculum Standards Recorder Level II Page 17-2 Copyright © 2013 by the American Orff-Schulwerk Association v 1.1 F / March 29, 2013 Teacher Education Curriculum Standards Recorder Level I: Learning Objectives NOTE: Where objectives are the same as or similar to Recorder Level I, note that they add playing alto recorder at this level.

Rhythm, Time, And Melody, Form, And Ensemble And Improvisation And Movement/Body Pedagogy: Meter Ear Training Accompaniment Composition Awareness Teaching Methodology And Process During educational experiences at this level, students will:

Technique:  Play rhythmic  Play two diatonic  Play alto and  Discover and  Play breathing METHODOLOGY: Breathing, echoes, drones, octaves on alto soprano recorder perform sound games, such as Tonguing, And and ostinati to recorder, including simultaneously, one possibilities inherent those with feathers,  Play alto recorder Fingering explore tonguing as a drone and one in the instruments bubbles, cotton without notation to F♯, B♭, G♯, and C♯ and breathing as a melody by improvising with balls, string, and discover its unique  Develop listening mouthpieces, scarves to physical and  Demonstrate skills and reinforce  Create and perform alterations, or understand speed acoustic properties proficient “half-hole” melodies with fingering “prepared” recorder and duration of  Compare/contrast technique, making a competency by paraphony breath and provide quick and accurate  Improvise echo alto and soprano playing back-to-  Practice ensemble additional recorder techniques thumb adjustment back echoes. phrases opportunities to for the upper breathing and for breathing, articulation  Improvise in explore a variety of tonguing, and register  Adjust breathing techniques to and hand position to techniques pentatonic modes fingering  Refine articulation with F and C as do maintain emphasis accommodate alto  Distribute different on breath control for  Adjust arm position for rhythmic recorder expression voices of  Improvise in quality of tone for a heavier, bigger  Learn F fingering at instruments to elemental forms production. instrument (wrists pitch, not achieve balance in (ABA, ABAC, call- slightly bent and recorder ensemble and-response, and  Explore a variety of elbows away from transposed up or relaxation exercises down from C question-and- body)  Combine recorder answer) for hands to fingering playing with other promote easier  Demonstrate  Once alto recorder elemental media,  Play and improvise fingering (including understanding of position is including tuned and hexatonic melodies guided imagery how to practice and established, switch untuned percussion, avoiding functional suitable for this how to teach between alto and singing, speech, harmonic level) students to practice soprano for and movement implications (I-IV, I- V, or I-IV-V.)  Given a set of five fingerings, timbre, pieces, choose an range, and order for teaching technique them and explain  Develop enhanced the order articulation for pedagogically expressive playing, PROCESS: using t, d and r,  Demonstrate

AOSA: NBT-Draft Curriculum Standards Recorder Level II Page 17-3 Copyright © 2013 by the American Orff-Schulwerk Association v 1.1 F / March 29, 2013 Rhythm, Time, And Melody, Form, And Ensemble And Improvisation And Movement/Body Pedagogy: Meter Ear Training Accompaniment Composition Awareness Teaching Methodology And Process double-tonguing, understanding of and extended how and why to techniques design lessons so that students learn through exploration and discovery  Analyze and discuss teaching procedures modeled by the instructor  Develop strategies to embrace and equip all learners  Perform warm-ups that relate to Orff process (e.g., improvisation of phrases to be echoed)

Elemental,  Perform repertoire  Use so, s, a, t, and  Play recorder with  Improvise over non-  Play and move to  Perform pieces for Historical, And highlighting the b recorders in class drone instruments functional modal Keetman/Orff recorder and drum Folk Repertoire interdependence of (such as strings, harmony (I-II, I-VII, pieces from varying the pipe and the  Develop guitar, lute, I-III, and I-VI) traditions (Keetman drum across time Renaissance, folk dulcimer, or hurdy- including regularly  Respond to Kleine Kanons, and in many places song, dance, and gurdy) to expand shifting patterns, movement with Native American play party melodies, sonic palette non-functional recorder playing flute and drum, using melodic ground bass, and  Dance to recorder Bolivian tarka, and range, elemental  Identify suitably irregular triadic English pipe and forms, and phrasing simple and age- music (folk, shifts related to historical, and tabor) to model appropriate Level II content improvisation and ensemble music for elemental)  Demonstrate composition children  Perform and  Demonstrate understanding of analyze elemental understanding of ranges and voices  Play selected  Play soprano and historical and folk of recorders when Keetman pieces alto recorder melodic contour examples with through movement determining voicing from MFC volumes simultaneously with drones and for a printed piece and supplemental same fingering for paraphony as and when writing for books on f and c instant paraphony

AOSA: NBT-Draft Curriculum Standards Recorder Level II Page 17-4 Copyright © 2013 by the American Orff-Schulwerk Association v 1.1 F / March 29, 2013 Rhythm, Time, And Melody, Form, And Ensemble And Improvisation And Movement/Body Pedagogy: Meter Ear Training Accompaniment Composition Awareness Teaching Methodology And Process recorders (see with one player models recorders bibliography)  Improvise in the style of elemental, ethnic, and historical melodies

Recorder In The  Play the pipe to the  Learn a familiar  Create a simple  Discover sound  Move to  Assess age- Orff Schulwerk drum, using melody by ear on ostinato or drone to qualities through demonstrate appropriateness of Context Keetman and other the recorder accompany a improvisation phrasing music for middle examples from pentatonic melody school students around the world  Play a known  Use speech, poetry,  Move to express melody in a different  Play alto recorder and singing as melody o Is it highest  Play at different key (transposition) as both melody and inspiration for quality? tempi accompaniment recorder  Create a dance to a Will it maintain  Sing and then play improvisation recorder melody. o  Use various meters a melody  Play recorder in [Add link: interest? (five, seven, and combination with  Create movement to Examples] o Can it be changing) and  Highlight form other Orff media a recorder melody differentiated? rhythms in playing through texture (singing, movement,  Accompany others’ (solo, small group,  Create short movement by body percussion,  Play alto recorder  Create a melody by large group, and motives and playing recorder tuned and untuned before naming any adding pitches to a antiphonal) phrases to percussion, and of the notes (sound given rhythm accompany a poem  Move to highlight other recorders) precedes symbol) or story melodic form  Demonstrate  Improvise question- interrelationship of and-answer phrases music and JH movement by  Improvise with introducing a varying dynamics recorder piece with and articulation movement  Combine recorder with movement, singing, and playing instruments

AOSA: NBT-Draft Curriculum Standards Recorder Level II Page 17-5 Copyright © 2013 by the American Orff-Schulwerk Association v 1.1 F / March 29, 2013 Rhythm, Time, And Melody, Form, And Ensemble And Improvisation And Movement/Body Pedagogy: Meter Ear Training Accompaniment Composition Awareness Teaching Methodology And Process

Notation  Use rhythmic  Invent graphic  Create, notate, and  Compose and/or  Demonstrate JH  Analyze and patterns and notation for the read drone and arrange ensemble rhythmic and discuss teaching building bricks as recorder ostinato recorder melodic notes on a procedures vehicles for accompaniments compositions using staff or timeline on modeled by recorder  Read short, notated the correct score the floor of the instructor (setting up improvisation melodic phrases  Read music for and order and recorder classroom a successful one by one (divide play alto recorder at ranges improvisation, and  Use speech as and conquer) pitch  Notate movement to developing impetus for rhythmic  Compose, notate, accompany a  Strengthen reading  Read music for and melodies from notation and share a melody skeletons by ear skill by analyzing play alto recorder recorder melody  Graphically notate form up the octave and/or with notation) rhythm  Play from both  Perform call-and-  Switch between  Demonstrate “sound traditional and non- precedes symbol”  Depict time using response exercises soprano and alto traditional notation graphic notation recorder, using process teaching  Learn melodies correct fingering  Develop original when adding  Play melodic both by listening recorder notation melodic notation ostinati from and by sight using existing  Play with and notation to develop models sight reading  Find recurring without printed motifs to facilitate music reading  Develop a melody from a melodic skeleton

AOSA: NBT-Draft Curriculum Standards Recorder Level II Page 17-6 Copyright © 2013 by the American Orff-Schulwerk Association v 1.1 F / March 29, 2013 Teacher Education Curriculum Standards Recorder Level II: Learning Outcomes

Learning Outcomes Summary After completing this level of education, students will be able to:

 Play alto recorder in a two-octave range including accidentals appropriate to the mode or scale

 Switch between alto and soprano recorders

 Demonstrate understanding of modal tonalities and shifting harmonies through alto recorder improvisation

 Develop pedagogy for beginning alto recorder as appropriate for middle school-age students

Learning Outcomes Detail Rhythm, Time, And Melody, Form, And Ensemble And Improvisation And Movement/ Body Pedagogy: Meter Ear Training Accompaniment Composition Awareness Methodology And Process Teaching After completing this level of education, students will be able to:

Technique:  Use breathing,  Demonstrate  Demonstrate  Improvise and/or  Demonstrate an METHOD breathing, tonguing, and expressive alto- and ensemble breathing compose on the understanding of tonguing, and fingering to illustrate soprano-recorder and articulation recorder using speed and duration  Play expressively fingering modal tonalities and playing proficiency techniques elemental forms in of breath with varying shifting harmonies in the lower and pentatonic modes, dynamics and during improvisation upper registers  Balance different avoiding functional  Finger easily and articulation on both on the alto recorder voices of harmonic flexibly for all alto and soprano instruments implications recorder activities recorder, using recorder ensemble correct techniques  Use recorder (both  Use and teach alto and soprano) effective practice effectively in an methods ensemble or as an accompaniment  Teach recorder pieces in a pedagogically logical order PROCESS:  Design lessons so that all students can learn through exploration and discovery,

AOSA: NBT-Draft Curriculum Standards Recorder Level II Page 17-7 Copyright © 2013 by the American Orff-Schulwerk Association v 1.1 F / March 29, 2013 Rhythm, Time, And Melody, Form, And Ensemble And Improvisation And Movement/ Body Pedagogy: Meter Ear Training Accompaniment Composition Awareness Methodology And Process Teaching integrating Orff processes wherever possible (such as in warm ups)

Elemental,  Describe and play a  Use a wide range of  Play recorder to  Perform, improvise,  Integrate dance and  Use varying historical, and folk repertoire that recorders and accompany drone and analyze music movement into traditions and a repertoire illustrates the melodic sources to instruments with appropriate for recorder wide range of interdependence of model improvisation suitable ensemble Level II standards performances recorders and pipe and drum and composition music recorder voices across cultures when teaching or  Demonstrate writing for recorder paraphony with two recorders played simultaneously with the same fingering

Recorder in the  Play the recorder  Play using aural  Play recorder  Use improvisation  Effectively integrate  Evaluate and use Orff Schulwerk using a variety of techniques (playing flexibly and and movement to movement (of self age-appropriate classroom music, tempi, by ear), verbal effectively in interpret music and and others) into music meters, and pitches techniques (playing ensembles and as melodies, varying recorder playing a sung song), accompaniment methods of both  Teach sound before transposition, and symbol varying forms  Integrate movement, singing, and other instruments into teaching recorder

Notation  Integrate notation  Develop notation  Easily read and play  Integrate notation  Express melodies  Focus teaching (reading and skills to learn, build, recorder music for into improvisation through movement methods on “sound writing) into and teach melodies. accompaniment and and composition and movement precedes symbol” teaching recorder ensemble exercises notation yet include notation rhythm, tempi, and in teaching recorder sight reading  Flexibly use soprano and alto recorder fingering

AOSA: NBT-Draft Curriculum Standards Recorder Level II Page 17-8 Copyright © 2013 by the American Orff-Schulwerk Association v 1.1 F / March 29, 2013