,NSiRLJCTIOX I,IFÍHOD FOR

l(crx0 NG lórK MEr0D Es

TI-1E
B.ECORDER
CTJIDE,
BY ]OI{ANNA E I{ULMCH
A SHORI INTRODUC ION 'I'O THE MECHANICS OF MUSIC

7
 A SHORT INTRODUC?]ON TO THE MECHANICS OF MUSIC
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iuuslc is u¡itten on a STAFF. A strjf i6 compos€d of five horizontal W€ us€ tha first seven letlers oI üe alphabot lo nanre the notes. Usi.ng lr
¡lnes s€parated by fou¡ spaces. C as a sLarti¡g po¡nl, end utilizing each line and space in succ€ssion, L

the rcte6 gú up and down the staf{ in alphabetical order. we c¡n now
read every noLe on U¡e stdf. J,
STAFF:
f
I,
The lin€s end spaces a¡e always counted I¡on] the bottom up. r (0A B

Olten the ¡imits of the stall must be extend€d. To do lhis, LEGER

lines are added above or below it, and the notes placed on the leger
(o¡ in üe spaces created by the6e llnes) agein iollow alphabeticaUy,
?he sbJf takes on a definite character whcn a CLEF sign is placed at up or down on the staJf.
its beginning, et the far lefl The¡e are many clefs used ln mu§Íc, birt
the TREBLE ( or O ) CLEF is most commonly used fo¡ !€corder, and
we shall conc€?nours€lves with it in t[is book, Therelore: lege¡ lines

A Treble Clet lookÉ like this and is placed on a 6tarl ltke i..
¿ leger'
liñe C D
this: I

Notes are circle6, op€n or tillcd in, with or without stem6, thet ar€
placed on the staff: o J j .\ ahe nole6 plac€d on the st Jf have a defidte time dulation ¡ndicated by
theia shape, These du¡atlons are always in the same ¡nathenatical
ratio to each otj¡e!.
¡o¡ iDsta¡ce: e WHOLE noie ls alweys twice as ]ong as t HALF note;
a HALF note is lwice as lo.g as a QUARTER ¡iote; two EIGIITH notes
Notice th¡t the clef sign curls around $€ 2nd line lrom the bottom. A equ¿l o¡re QUARTER note; lour SD(TEENTH not€s equal one quarter
note w¡itten on this 2nd line is " G ", lnd that is why the treble clef is
eiso calied the G CIe[.

A dot placed ajter a note increases its trme value by ore-half. A dot
ajter a hau trote lncreases its total du¡ation to a hrllf plus a quarte¡
note (o¡ three quarte¡ notes); a dot alter a quarter Dote iocreases it§
total duration to a qurrler plus an eighth (or Lh¡ec eighth noies).
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üe (n!dbá or @untn b d.ry

rish, doubk ú" I

h*".y d",b'. b.. ll

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,* *-".".'shth "",".."y I .r,

úsmekd"cib1ñ l«.J.

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 I
A T'IME SIGNATURE vl¡l dctermine ho1l Dr:rny counts (or beats) tlte
n-6tes ¿no ¡e-ano
¡esrs rn eacn measure wlll rcce¡ve-
Thc tiñe rig¡rature
co¡rdists oI h,o nuD$er§r one abóvo t¡ré othe¡,
placed at the beginning of the piece fouowing the clef sigrL
r
[,

axamnres:ffi##ffi#F t,
Here ls the fo¡mulá:

Top Number : lhe total hu¡¡¡ber of b€ats in one &ea6r¡re

t
Bottom Numbe¡: the klod of note that recelve§ on€ be¡t ¡
a

f¿t é Exarnples:

4
4

,
4

6
indlcetes thet the¡e are 4 beáts in,a measu¡e a¡d a qua¡ter ¡óte
re'celves one beát, A haU ¡¡ote (t¡¡o querte¡s)rrill receive lwo
beat3 . e whole hote, fou¡ bcats - t¡/o eight notes rocelve o¡e bat,
etc. Hor¡/€ve¡, the¡o wl¡I be a totql. 9[ 4 tleats (no!e s oi .e§t6) tn
er¡y one mea$¡re.

2 beetÉ to a ¡n€asure,
one beeL

6
a, qualter rcte (or itB equivelent) ¡ec€ive6

be¡ts to a mea6ure, a quarre! note (or its equivelent) receives

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t-
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A
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3 3 beeta to a ¡neasule, a hau noté (ó¡ its equivslent) ¡scelves one {

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2 beat.
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3 3 beats to a m€¿6ure, a quaate¡ note (qr iis equkele¡¡t) ¡eeeive6
t
4
I'ar-
3 3 beatg to e measu.e, a¡¡ eighth note (or its equivalent) ¡ecéiveB
I one beaL f
etc. {"
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é^
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c is ar abb¡evl4tlon Ior 4
4 €

+ is an abltreviation for 2 (also ealled cut time or aIIa b¡eve) t-

a_
2
 a ll!Er curvÉd r,ú mk4r'. T
¡"b|..r., ¡,ii,F r-" -r,*-.;
"E¡o¡ ro.e fl s, T¡ese s¡n$s or r, .*., -.".
-*.8ark d(arvoy§
§h¡.pÉ, orone a¡,Dctrr,
rrshrh! 6!úe scqueiru) rdrcúrr u'¡rn¡ q rep¡cs¿¡r ¡r.
'Eks

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Án F,! zd c'! rrc n, k ¡hyd ¿s Fr rd c, rh¡dushoú

{' € oi drt.red tl'G or rho

oo.s¿.t. ¡over xr psniotr
36ff, ptrch¿dtu¡cl¡fú lcllrn n¡ss)
thc
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All E i:rc ro b. DLycd Js rr nrddúL
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itr-
if- Bl ¡nd El !hEush(.

,rl syñbols crlrcd4ccl ENl L 3isq

.lg¡¡llsdo|gDb.!doiú.s6
, - ! §iu! s,,,¡ riLe.s 0'é prtch oa rhe ,oic tt,,rc.dresby jsr¿¡. ,ll

; - i dural s¡si (io.€l'¡ !re'{aÉ, o¡

¡ 3cdton of a pr.c tiu muksd
qh :lL rru-'"¡t¡'
a bi' rin. rur,uaÚc¡rlyc ..l§ r¡6 ic.idenbt of rh!Fero$ EN¡@ rs. ü:, pr*,, rF '" ''¡
'hc
 t:-
HOLDING TI-IE RECORDER

The recorder has eig¡t hol€s, seven on the tront and

one in the rea¡. It is held with the left hand on th¿ top
portion and lhe right hand on the lower, The l€ft
thuñb covers thc rear hole a¡d the other fingc¡s lollow
as shown ln the accompaDying diagram.

Each ling€¡ covers only the hole assigned to it,

oller. Thjs nere¡ varies. Thc riqht tl,úmb rs used
and no
t; e
otrly 'o suppürr the instrument and rhe lcfr little Iinger I:"
¡s not used el áll. lr
l.e-
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I

lst linSer LEFT

'(i-
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2nil fin8er HANt)
L.
e-,-
3rd
When a note is iñtroduced in tha text
it will be accompanied by this finge¡-
oo
ing diagrarn, whlch represants the re-
o f"
t',
corde!. (See pictu¡e above) o
lsr tLng¿r o e
o ¡j
2nd finger
o
o t-
¡rd tinaer e
4!h finger L.
e
I
o = do not linger
L,a
o = close cornpleiely Á\,
o = open app¡oximately helJ way I'
c= l.ft thumbhole pinched (¡¡¡róxim"telv Z/lO .tos.¡l t
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tnolghndtcompletery!oÚ.Ioigr¡ea
sñRnpe¡chtnyou¡palúsi!Éjvetheprc'e.r..ll

6 r_tu»r I lll :' ''ll

dot dlddh do^ -nlh-¿¿h

rnr i. so rñp¿ra hr roJ uoiño !¡ rTrti-.

r 13
"d- tror br" ¡ o,, ro"
J."o rnlr)óu hre ¡
essu¡e ahrle daúG the bne *lrr
,r.,u r,"qo. av vrú;,,. soe.
beúm¿ lúshá G¡a$) ¡¡d x dih
(rao, ,,e ¡¿suuv lhe anoutoi Nn¿ pe¡lordnce.

'' -o,crd,ana¡ r ü. dd¡

l
S'|ACCÁ'rO h¡s t¡te cffcct of shortcning the dLr¡ation of a note. The
sho¡t,¡Éss.rI the ¡loic !ill depend upon the ch:rractc¡ of the piece.
Staccato notes x¡c indicated by dots ove¡ the ¡rotes. Tbogui,rg is
slightly diJierent for 6taccato and looks like this:

&it I I lt 4,

'll
(-.

SLURS are indicaled by a cu¡ved line connecting tvo o¡ mo¡e diffe¡ent

tones. T¡e first note in the slur is tongued with DAH - the AH sound
is E¡aintaincd lor tlto othe¡ Dotes wit]¡in the slur, and the last note in a
the sl¡rr is ended with the final d sound. It looks like this:
t-

ffi doh-d
e-
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Whe!€ there are olher notes following and not inctuded in tho slu¡, and
e-
no breeth Íarks or rests occur, tl¡e final d iB omitted from the slu¡
until celled fo!¡ t
e-
I
t-
€-
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dah
i
dah-dt h
one
doh
- b¡eath
d
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- ¿
(i
- L-
dah doh dah
-doh -doh-d §'
¡ one
- Orear¡ I 3:
(¡
- Tü,2 uny to tean quicl,iy is b ga slou4). IJe gJ
All of thc foregoing shoulil be read carefully, while it is nót ¿com- cerla¡,l thal you call play each seLection with {,
plcte picture ol nrus¡c notation and thc problems encountered in ease befo|'e co lit&¡ng. e,'
recorder tcchni.tue, it i. an inrport¡nt fo!ndation. As the book é.:
protrrۤs.s, furlh.r If,itrts will be explaincd lts they occur.
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üil:l'il;l:.11:",'.:i:.'r"::;Pil;iT:l,',fl:l;Ji;,'r':'I#"?j' *d
"; F r;.;;r;:.

bad t4 bor, ctol u dddutú h th, tr¿t h, ltc std oko h, oM that
ñ¿ne ¡rs.ñhas rof ttu tut. wil hE to há dodtLd ¡m» u1c4 Eiñ ¡e*, t ¿ a¡ **,*. o*,i,i
¡1..8 ¡r.hleta düt t¡ hrsrñEs h*t h. fdd hy ;t nú¿,!iiN,)
15
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doh¿dh ddh-dah-dah dat d

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Indian Luliaby
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T¡y (o pLiy
G¿ róhr timÉ
s¡s usinsoi¿ b.e¡rh. rhe Dd rlo
y us d h* pasé ü) :nd ue h¡ldrur l"
ll
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First Duet
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 Theme And Yariatioí

t3 b., rdc bB 4 úeso,,ñm I

20
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T Paris

1
,h¡rre), o. tr rill lBe 15 rh¡rn.

4
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Waltz
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h{dofngfily*ü¡tsdono
)

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 Swinging ¡

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Juba
(am*ice)

a ¡rúie, (indraed by ¡ bre h m-r * **l " ur" l" *¿ o¡. ,p*; pi.*i
L

up md lJu ba dovi, rrba ¡$ ir4

t !. ¡ r¡ of.r ¡od¡B úE o ür. reln.r. lr acrb tó ¡¡¡i roú¡r.r úú tB *¡t¡oÉ. on. {, b r..D rt t! lrú
lEto lbltle déltBlelt, & tñll {r, Fü *1ü d'.6!t¡rt¿cÍ. l¡!.r.¡lndor

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urnún¡ ¡a¡t rt n"d.rr. $arü +$ú.a t á¡!]'y th; lla r§1, oa rh¡r b.!

!E §s g §EE al $
 I.
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Exercise

24

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 ,]
Czech Foik Tune
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l i.]]:i::. ;iiii""Il,tiir.,li

ll 25

:l l]
;------r rr-___r
:)

't

Pray rtu rop (ihelr.y)

 L hr\t l§ ljorn

t,

26

Dusk Is Falling

;
 Silent, Silent

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27
:1

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 Ch ristmas Song t
'u¡-bc¡r'1¡or on $¿ r¡rsr bc¡r).
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28

t'a-
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! die scb,nt¿i¡ liirrrcs i L

lJ

,s r<ridreú d* ,ttut rci üte ud ¡rci, s-

D6s tu jrder Kindlcin kctu ú

 Sleep Baby Sleep

29

Sleep Baby Sleep

rhe mñphytry pan (§opqd)
 Theme And Rhylhnric V a ria tions

30

t
I
 Shepherd's Hev

31

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t'
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t.

32

t_
I

p..h¡p3 ¡ lltllo lorr b¡errh ed aid r¡. b.lis.oror.d IL

t:'
r mñ€nr or r¡'*!. in¡Áeti mr bor.E i¡d t'
,1r¿y0! slr fs (or árandltrg ) {trh sood DoEtu¡e ?
Doú',t 6rou.h, Nor o¡ly do.! tr loo[ bld, bur
t-
bmtr'i¡c
0,há.rnB).orru ? y
^reyo Nu¡..isellnlu¡ge.!trh¡nl¡e .{ I lhÉe is hdkrr¿d by h.eir

on trrú¡óu3hly beroro prccéodhg- lf you n¡. usure 0r ¡iything, *o b¡ck ¡nd ¡evié*
¡
1

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IV

3-1

F
 Exe¡cise

German Child ren's Song

. nnn
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?

Swapping Song
35
CIv¿ y@r ionaue á oh¡¡(e to.!tch¡pro
¡to b.c¡t[ ñx¡k neÉ¡r h¿rr.

)
.1. ¡ hrd.
all the brsad itrd cheeso I

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 Slavonic Tune

36 Music is usually written in phrases of even numbers, 1.e., 2r4,8, 16 measures. This is the norm, and so
,1 when you come acrpss a song such as thls one, written ln three bar phrases, it ls apt to throw you off rhy-
thm. Count carefully so as to feel and hear thls.

A
 1

) The Tailor And The Mouse

? lEnalrshl

-1 pirtr. Mak€ r!nii!n'¡ryou mñ

-1
I
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--!
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I drddis üñlom re¿dle.

I . lll dldd¡. unlúr Í€odle.
.

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 l'
Folk Dance
I,
36 38

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3,
a
4,
.r,, i/
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Folk Dance 39
(German)

.r, i
(In this version, the melody is played by the AIto recorder. )
Lively
C G C

\a/ I

6l e) I

daht daht dah

dah daht dahi
-l
I
A
a a a -j+ -* {-ro,
út
(melody F
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-1

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,
Jtt -t daht daht daht ¿laht I dah
1i
t)
tl-t
 f,
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Sp rin g Dance
C
40

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 Spring Dance
(German)

4t

á
Melody

Remember all the techniques you

have learned- counting- tonguing-
staccato' and more' stop at names of notes - rests- accents
ihi;;;i;^"Re-read tt text (now that you are acquainted
- repeat signs -
"--rrl"gtr"irg with terms). Then
ilX1t111'L',1:TJni,".'ffi:t,.;?,Tji'"ot,,,ns uno nuu". fo'on',o u nu* pugu uliJ"l you uncrerstand and the can execute ilre
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f'r
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42