Today we'll explore notes, fingering, tonguing, and how to create your own repeating patterns. First, we'll identify the notes B, A, G, C¹, and D¹ on the recorder and learn the correct fingerings for each. Then we'll practice basic tonguing—think of it as saying "ta" with the instrument—and use those skills to build simple, random repeat patterns. These goals align with the CBC Grade 5 Performing and Displaying strand, so by the end of the lesson you'll be able to play short melodies confidently and demonstrate your understanding of these core techniques. If anything feels unclear, just raise your hand—we'll pause and check together. Let's have a fun and musical session!
Everyone, let's explore the descant recorder and the five notes we'll be using today. First, notice the notes listed: B, A, G, and the higher C¹ and D¹. The superscript ¹ means those two notes sit one octave above the middle C on the staff. At this simple staff diagram. Can you see where each note lands on the treble clef? The shape shows the positions: B sits on the middle line, A just below it, G on the second line from the bottom, while C¹ and D¹ sit on the top space and top line respectively. Take a moment to whisper the note names to yourself as you follow their positions on the staff. Great job, everyone!
Everyone, let's take a look at the title on the screen: Fingerings for Each Note. This tells us we'll be learning which holes to cover for each of the five notes on our recorder. Here is the finger chart. Starting with the low B, you keep all three holes on the left hand closed and the right‑hand thumb hole open. For A, lift the bottom left‑hand finger; for G, lift the middle left‑hand finger; for C¹, lift the top left‑hand finger; and for D¹, lift the thumb hole while keeping the others closed. Notice how each note corresponds to a specific combination of fingers. A quick tip: always cover the holes firmly. A clear tone comes from a good seal, so press down gently but securely. Remember to keep your fingers curved around the holes, not flat on the surface. I'll play a low B, and I want you to match the finger pattern on the chart. [takes a breath and plays]. We move up to A—lift that bottom finger and listen for the change in pitch. To recap, we covered the finger combinations for B, A, G, C¹, and D¹, and we highlighted the importance of covering holes securely. Practice these patterns slowly, and the notes will become second nature.
Everyone, let's dive into basic tonguing technique. This is the foundation for clean, crisp notes on any wind instrument. First, notice the bullet that says Light "ta" articulation for short notes. Think of it like a quick tap of your tongue, just enough to start the air and stop it instantly. Next, we have Long "taa" for sustained notes. Here you let the tongue stay down a bit longer, giving the air a smoother, longer sound—like holding a conversation a little longer before pausing. Finally, the practice exercise: alternate tonguing on a simple two‑note pattern. Try saying "ta‑taa, ta‑taa" while breathing steadily. This builds control over both short and long articulations. Let's give it a try together—tap your tongue lightly for the short notes, then lengthen it for the sustained ones. Any questions before we move on?
Class, let's dive into today's topic: Stencil Random Repeat Patterns. First, a stencil pattern is a repeat pattern created by arranging a set of notes in a specific order, then repeating that order over and over. Notice how the definition highlights the idea of a fixed sequence that we can loop like a musical chain. For example, consider the pattern B‑A‑G‑C¹‑D¹‑C¹‑G‑A‑B. We'll hear how it sounds when we play it repeatedly. I'd like each of you to create your own eight‑note stencil pattern. Think about the five notes we've been using and try different orders. Remember, the pattern should be easy to repeat, so choose a sequence that feels natural when it loops back to the start.
