RECORDER

COURSE
Intermediate Level
New Apostolic Church Southern Africa
 Foreword
The Recorder Course - Intermediate Level is a continuation of the Recorder Course for begin-
ners. It has been designed to provide the keen learner with a solid foundation of music ele-
ments and simultaneously introducing the learner to all the notes on the descant recorder for
both Baroque and German fingering systems.

This course enables the learner to play the recorder with both left and right hands up to the
extent of four sharps and four flats. Key signatures, major scales and arpeggios also introduce
the key concept and provide the learner with technical support to understand the instrument
well. New rhythms such as dotted notes, tied notes and triplets are also introduced within the
various simple and compound time signatures with an adequate repertoire for support.

The pitch range for sight singing ranges from middle C as the low doh to C an octave above
middle C as high doh accompanied by relevant hand signals. Articulation is also being ex-
plored with the use of two-note, three-note and four-note slurs. Dynamics are introduced at a
very elementary level which enables the learner to distinguish between loud and soft playing.

At the conclusion of this course, the learner should be able to play hymns in major keys up to
four sharps and four flats in the various simple and compound time signatures. The follow-up
course in this series will focus mainly on recorder repertoire at a more advanced level as op-
posed to hymn playing.

All music notation of this course is available in audio format to provide the learner with accom-
paniments as support material.
 CONTENTS
Lesson 1 Rudiments of music theory p.7
Lesson 2 Note F p.9
Lesson 3 Notes E, D and Middle C p.10
Lesson 4 The repeat sign and anacrusis p.11
Lesson 5 Taa-a Tay p.12
Lesson 6 Note B flat and key F major p.13
Lesson 7 Hymns in F major p.14
Lesson 8 Note F sharp and key G major p.15
Lesson 9 Hymns in G major and the slur p.16
Lesson 10 Test your knowledge p.17
Lesson 11 Middle C as Doh p.18
Lesson 12 Note C sharp and key D major p.19
Lesson 13 Hymns in D major p.20
Lesson 14 Notes E and F p.21
Lesson 15 Hymns with high E and F p.22
Lesson 16 Note E flat and key B flat major p.23
Lesson 17 Hymns in key B flat major p.24
Lesson 18 Tafa Tefe p.25
Lesson 19 Ta-e Fe p.26
Lesson 20 Test your knowledge p.27
Lesson 21 Compound time signature - 6/8 p.29
Lesson 22 Compound time signature - 9/8 p.30
Lesson 23 Compound time signature - 12/8 p.31
Lesson 24 Ta-e Ti p.32
Lesson 25 Hymns in compound time p.33
Lesson 26 Ta-a Te Ti p.34
Lesson 27 Note G sharp and key A major p.35
Lesson 28 Triplet rhythm p.36
Lesson 29 Note A flat and key E flat major p.37
Lesson 30 Test your knowledge p.38
Lesson 31 Sa or Se rest p.39
Lesson 32 Note D sharp and key E major p.40
Lesson 33 More simple time signatures p.41
Lesson 34 Note D flat and key A flat major p.42
Lesson 35 More compound time signatures p.43
Lesson 36 Tempo p.44
Lesson 37 Dynamics p.45
Lesson 38 High notes on the recorder p.46
Lesson 39 Major scales and arpeggios of C, G, D, A and E p.47
Lesson 40 Major scales and arpeggios of C, F, B flat, E flat and A flat p.48
German fingering chart p.49
Baroque fingering chart p.50
Glossary p.51
 THE RECORDER

Mouthpiece (beak)

Window

Head joint

Thumbhole (on the back)

Left hand
holes

Middle joint

Right hand
holes

Foot joint
PART

ONE
 LESSON 1
RudimEnts of Music Theory
The five horizontal lines are The vertical lines are called
called a STAVE. BAR LINES.

BAR

The DOUBLE BAR LINE in-

The bar lines divide the dicates the end of the music.
stave into equal BARS.

NOTES ON THE STAVE

These notes were taught in the previous course.

LET’S LEARN SOME NOTES

es
Lin

ces
Spa

Draw the following notes on the stave:

7
 SIMPLE TIME SIGNATURES
The TIME SIGNATURE appears at the beginning of the music and is written as two numbers, one set
above the other e.g. 2/4 or 3/4 or 4/4. The upper numeral represents the number of beats per bar. The
lower numeral represents the type of note that forms the beat. See examples below:

DuPLE MEtER TRIPLE MEtER QUADRUPLE MEtER

2
4 The combined value of the notes and rests in each bar should not exceed 2.
The 4 refers to a quarter note which is a Taa.

3
4 The combined value of the notes and rests in each bar should not exceed 3.
The 4 refers to a quarter note which is a Taa.

4
4 The combined value of the notes and rests in each bar should not exceed 4.
The 4 refers to a quarter note which is a Taa.

TAA-AA-AA-AA The new note

TAA-AA-AA-AA

TAA-AA-AA-AA This note is called Taa-aa-aa-aa.

Taa-aa-aa-aa has no head and
stem. It is shaped like an oval.
Taa-aa-aa-aa looks like the letter O.
The head of Taa-aa-aa-aa must not
be shaded.

Clap all these rhythms above before playing

Clap once, hold your hands together
it on your recorder. It is important to feel the
and make three forward circular move-
difference in pulse from DUPLE(2/4) to TRI-
ments while saying Taa-aa-aa-aa.
PLE (3/4) to QUADRUPLE (4/4) meter.
This adds up to four beats.
8
 LESSON 2
NOTE F
Recorders are built on different fingering
systems which affect certain notes. If your
recorder has the letter B above the left
thumb hole then the Baroque fingering sys-

F tem should be applied.

The F lies in the first space.

German fingering system.

Follow these steps for each exercise before playing them:

1. Clap and say the rhythms of each exercise.
2. Clap the rhythm while reciting the letter names of the notes.
3. Place the recorder on your chin while tonguing the notes and demonstrating the fingering.

Exercise 1 Track 1

Exercise 2 Track 2

Exercise 3 Track 3

Exercise 4 Track 4

Exercise 5 Track 5

9
 LESSON 3
NOTES E, D AND MIDDLE C

MIDDLE C lies on a leger

E lies on line 1. D lies below line 1. line below the stave.

E D MIDDLE C

Play each note according to the above fingering indicated on each recorder. When you are com-
fortable with each note then try playing the song below. Remember to first clap the rhythm, then
clap and say the letter names followed by tonguing without a sound. Thereafter, play the song.

Mary had a little lamb Track 6

Now you have learnt all the notes that belong to the key of C MAJOR. There are no sharps or flats
in C major, only naturals. Play the scale of C major below which consists of C D E F G A B C.

C Major Scale Track 7

The following hymn consists of the notes of the scale of C major. First, clap
and say the rhythm and letter names of notes. Thereafter, place the record-
er on your chin while tonguing the notes and demonstrating the fingering.

Hymnal 380 - Jesus loves me Track 8

Breathing mark
// // //

7 // //

12 //
//

10
 LESSON 4
THE REPEAT SIGN

The REPEAT SIGN means that you should replay the mu-
sic that appears between the two dots on the stave.

The dots to the right of the The dots to the left of the
double bar line represents double bar line represents
the START of the repeat. the END of the repeat.

THE ANACRUSIS

An ANACRUSIS, also known as a pickup, is a note or few notes that appear before the first beat
of a full bar. The anacrusis is an incomplete bar and should not be regarded as the first bar of the
piece of music. The anacrusis completes the final bar of the music.

Hymnal 497 - O sacred Head, now wounded Track 9

Start of repeat End of repeat

// //

5 ANACRUSIS
// //

9 //

Practise the above hymn on your recorder and play it

along with the audio track as soon as you know it well.
11
 LESSON 5
TAA-A TAY
The TAA-A TAY rhythm feels exactly like Taa Ta-Te. The
dot after the Taa represents the Ta. The dot is connected
to the Taa which makes it one sound. This means we clap
once while saying Taa-a. Thereafter, clap the Tay.
TAA-A TAY

This is a TIE. It connects the two notes Try clapping the rhythm in the six bars
meaning there has to be one sound for below.This dotted rhythm sounds exactly
the combined value of the notes. like the tied note rhythms in bars 3 and 4.

clap clap clap clap clap clap clap-hold clap clap-hold clap clap-hold clap clap-hold clap

Follow these steps for each exercise before playing them:

1. Clap and say the rhythms of each exercise.
2. Clap the rhythm while reciting the letter names of the notes.
3. Place the recorder on your chin while tonguing the notes and demonstrating the fingering.

Exercise 1 Track 10

Exercise 2 Track 11

Exercise 3 Track 12

Exercise 4 Track 13

Exercise 5 Track 14

12
 LESSON 6
NOTE B FLAT

This symbol is called a FLAT sign. When

it appears to the left of a note, it makes
the note sound a semitone lower.

B FLAT
Play the following
exercise on the note
B FLAT:

The flat sign to the

right of the treble clef is
called a KEY SIGNA-
F MAJOR KEY SIGNATURE
TURE. It means that all
B’s should be played
as B flat.

A piece of music is written in the key of F MAJOR when a flat sign appears
on the third line only. This means the key signature for F major is B flat.

Follow these steps for each exercise before playing them:

1. Clap and say the rhythms of each exercise.
2. Clap the rhythm while reciting the letter names of the notes.
3. Place the recorder on your chin while tonguing the notes and demonstrating the fingering.

Exercise 1 Track 15

Exercise 2 Track 16

Exercise 3 Track 17

Exercise 4 Track 18

13
 LESSON 7
t i s e thes
Prac s in key
e
F HYMNS IN F MAJOR
hym ajor:
n
m
Hymnal 16 - How lovely on a Sabbath day Track 19

// //

5 //

Hymnal 29 - Worthy of worship Track 20

// //

9 // //

17 // //

25 //

See
TIE
can how
onl cels a the
the . The ll B fl NATU
This symbol is called a NATURAL y
a
can ar line ts for AL si
sign. When it appears to the left of a bar b R
note, it cancels the flat or sharp. s th at th this b n
cel g
a
atu end r
en e
ral of
sig
n.
Hymnal 199 - Lord thou camest in compasion Track 21

// //

This is a B natural because the note is in

B flat the same bar as the natural sign.

9 //

14
 LESSON 8
NOTE F SHARP
This symbol is called a SHARP
sign. When it appears to the
left of a note, it makes the note
sound a semitone higher.

F SHARP German
fingering
Baroque
fingering
system. system.
Play the following
exercise on the note
F SHARP:

G
The sharp sign to the

MAJOR KEY SIGNATURE

right of the treble clef is
called a KEY SIGNA-
TURE. It means that all
F’s should be played
as F sharp.

A piece of music is written in the key of G MAJOR when a sharp sign appears
on the fifth line only. This means the key signature for G major is F sharp.

Follow these steps for each exercise before playing them:

1. Clap and say the rhythms of each exercise.
2. Clap the rhythm while reciting the letter names of the notes.
3. Place the recorder on your chin while tonguing the notes and demonstrating the fingering.

Exercise 1 Track 22

Ta - te Ta - te
Exercise 2 Track 23

Exercise 3 Track 24

Exercise 4 Track 25

Exercise 5 Track 26

15
 LESSON 9
Pra c t i s
s in
key
se
e the G HYMNS IN G MAJOR
n r:
majo
hy m
Hymnal 9 - God is in our presence Track 27
8 // // //

15 // //

Hymnal 36 - For the beauty of the earth Track 28

5 // //

9 //

THE SLUR Pra

be ctise
for th
hy e pla ese s
This curved line is called a SLUR. When mn yin lu
playing notes connected by the slur, we be g th rs
low e
only tongue the first note and not the others. :
Too_____ Too

Too________ Too Too Too_______ Too Too Too Too Too__ Too__

Hymnal 129 - God of grace and God of glory Track 29

// //

5 // //

9 //

12 //

16
 LESSON 10
TEST YOUR KNOWLEDGE 50
Question 1 - Write the correct letter name below each of the following notes: [10]

Question 2 - Draw each note as a Taa-aa-aa-aa on the stave: [10]

G C B flat E C F sharp D A F F
on a line in a space on a line in a space on a line in a space on a line in a space on a line in a space
Question 3 - Insert the correct time signature below each asterisk (*): [5]

Question 4 - Insert the missing note below each asterisk to complete the bar (*): [5]

Question 5 - Draw the notes on the stave as shown on each recorder: [5]

Question 6 - Choose the correct description for the terms below: [15]

end of repeat; start of repeat; time signature; key signature; taa-aa-aa-aa; taa-a tay; key G major; flat sign; sharp sign; natu-
ral sign; slurred notes; tied notes; leger line; double bar line; two beats per bar

17
 LESSON 11
MIDDLE C AS DOH DOH
In the previous course, Doh started on the note G. Re-
member that Doh can start on any letter of the music
alphabet. In this lesson, DOH will start on MIDDLE C.
TI
Lah, Ti and high Doh will be introduced as new pitches.

Sing the scale of C major below with hand

LAH
signals while reciting the tonic solfa names:

Doh Ray Me Fah Soh Lah Ti Doh

Follow these steps for each exercise before playing them:

1. Clap and say the rhythm.
2. Show the hand signals rhythmically while reciting the tonic solfa names.
3. Play the exercise on your recorder.

Exercise 1 Track 30

Exercise 2 Track 31

Exercise 3 Track 32

Exercise 4 Track 33

Exercise 5 Track 34

18
 LESSON 12
NOTE C SHARP

C SHARP Remember that the sharp sign makes a

note a semitone higher. The sharp sign
appears in space three next to the C note.

Play the following

exercise on the note
C SHARP:

D
The sharp signs to

MAJOR KEY SIGNATURE

the right of the treble
clef are called a KEY
SIGNATURE. It means
that all F’s and C’s
should be played as
sharps.
A piece of music is written in the key of D MAJOR when sharp
signs appear on the fifth line and in the third space. This
means the key signature for D major is F sharp and C sharp.

Follow these steps for each exercise before playing them:

1. Clap and say the rhythms of each exercise.
2. Clap the rhythm while reciting the letter names of the notes.
3. Place the recorder on your chin while tonguing the notes and demonstrating the fingering.

Exercise 1 Track 35

Exercise 2 Track 36

Exercise 3 Track 37

Exercise 4 Track 38

Exercise 5 Track 39

19
 LESSON 13
HYMNS IN D MAJOR
Now you have learnt all the notes that belong to the key of D major.
There are two sharps in D major, namely F sharp and C sharp. Play the
scale of D major below which consists of D E F# G A B C# D.

D Major Scale Track 40

Let’s practise the following hymns in the key of D major:

“Remember the steps before playing the hymns”.

Hymnal 5 - Be still for the presence of the Lord Track 41

//

6 // //

12 //

This hymn has quite a few SLURS to be

Note this C. It means COMMON played. Remember to only tongue the
TIME which is exactly like 4/4 timing. first note of a group of slurred notes.

Hymnal 82 - I am Jesus’ little friend Track 42

// //

6 // //

10 //

20
 LESSON 14
NOTES E AND F

E lies in space 4. F lies on line 5.

E F
German fingering system. Baroque fingering system.

Play each note according to the above fingering indicated on each recorder. Remember
to pinch the left thumb hole. The hole has to be half open. When you are comfortable with
each note try playing the exercise below.

First, clap and say the rhythm and letter names of the notes below. Thereafter, do the
fingering and tonguing with the recorder on the chin before playing each exercise.

Exercise 1 Track 43

Exercise 2 Track 44

Exercise 3 Track 45

Exercise 4 Track 46

Exercise 5 Track 47

21
 LESSON 15
HYMNS WITH HIGH E AND F
Before playing these hymns, please observe the time signatures, key signatures, ac-
cidentals and slurs. Ensure that you can clap the rhythm of each hymn and follow the
preparation steps before playing them. Breathe only at the end of each phrase.

Hymnal 94 - Jesus, Thou art my salvation Track 48

//

8 // //

15 // //

23 //

Hymnal 114 - We cannot but be speaking Track 49

// //

6 // // //

11 // //

Hymnal 210 - Star to which I’m looking Track 50

// //

7 // //

12 //

22
 LESSON 16
NOTE E FLAT

Low E FLAT High E FLAT

Play the following

exercise on the high
and low E FLATS:

B FLAT MAJOR KEY SIGNATURE

A piece of music is written in the key
Note the order in which the of B FLAT MAJOR when the flat signs
flat signs appear. First the appear on the third line and in the fourth
B FLAT then the E FLAT. space. This means the key signature for
B flat major is B flat and E flat.

Follow these steps for each exercise before playing them:

1. Clap and say the rhythms of each exercise.
2. Clap the rhythm while reciting the letter names of the notes.
3. Place the recorder on your chin while tonguing the notes and demonstrating the fingering.

Exercise 1 Track 51

Exercise 2 Track 52

Exercise 3 Track 53

Exercise 4 Track 54

Exercise 5 Track 55

23
 LESSON 17
HYMNS IN KEY B FLAT MAJOR
Before playing these hymns, please observe the time signatures, key signatures, ac-
cidentals and slurs. Ensure that you can clap the rhythm of each hymn and follow the
preparation steps before playing them. Breathe only at the end of each phrase.

Hymnal 18 - I sing the mighty power of God Track 56

// //

6 // // //

11 // //

Hymnal 39 - Give to our God immortal praise Track 57

// //

9 //

Hymnal 159 - The Work is Thine Track 58

// //

6 // // //

11 // //

16 // //

24
 LESSON 18
e
FA
- T
E
EF p
rou
TA tire g TAA.
TAFA TEFE
th en he
h i s is The e of t
T . lu
h y thm e va
r th
q u als
e
or
TA FA TE FE TA FA TE FE

Note: If it takes one second to play Taa then it should also take
= one second to play all four notes of Tafa - Tefe. Clapping or play-
ing should be done in the same duration as the Taa.
Clap and say this rhythm below before playing it on the recorder.
Exercise 1 Track 59

Divide these four

notes evenly into the
third beat of this bar. This is the TA - TEFE rhythm. It also
has to be played in the time of a TAA.
Clap and say this rhythm below before
playing it on the recorder.

Exercise 2 Track 60
TA - TE FE

This is the TAFA - TE rhythm. It also

has to be played in the time of a TAA.
Clap and say this rhythm below before
playing it on your recorder.
Exercise 3 Track 61
TA FA TE

TA - TE FE TA - FA TE

25
 LESSON 19
h y thm
. ta-e fe
F E r ls the
a
TA-E o equ .
he ls A
i s is t thm a the TA
Th s rhy e of
Thi valu

TA-E FE
The Ta-e Fe rhythm is similar to the Ta-Te. The first note, however, is longer than
the second one. Clap and say this rhythm below before playing it on your recorder.
Thereafter, do the same with the hymns below.

Hymnal 207 - Safely faith through life will guide us Track 62

// // //

7 // //

Hymnal 167 - Work, for the night is coming Track 63

// //

6 // // //

11 // //

Hymnal 96 - Lord, my Saviour and my Shepherd Track 64

// //

6 // // //

11 // //

26
 LESSON 20
TEST YOUR KNOWLEDGE 60
Question 1 - Name each of these notes below if Doh starts on C. Choose one of these: (Doh, Ray, Me,
Fah, Soh, Lah, Ti or Doh) and write them below each note: [8]

Question 2 - Write the letter names below each note as in A B C D E F G as well as the flat or sharp that
appears next to it: [10]

Question 3 - Name the major key the following key signatures represent: [10]

Question 4 - Write the 8 notes of the C major scale with key signature: [9]

Question 5 - Write the 8 notes of the D major scale with key signature: [9]

Question 6 - Choose the correct name for each rhythm below: (Tafa Tefe, Ta-e Fe, Ta-Tefe, Tafa-Te) [4]

_____________ _____________ _____________ _____________

Question 7 - Draw the notes on the stave as shown on each recorder: [10]

27
PART

TWO
 LESSON 21
COMPOUND TIME SIGNATURE
is 2/4,
n a ture D call 3/4 an
ig N ed S
e s MPOU E. d4
s t i m O R SIG IMPLE /4 are
Thi d a C NATU NAT
e URE TIME
call E SIG S.
TIM

In 2/4 time there are two TAA’s in each bar. Each

Taa is made up of a Ta-te. However, in 6/8 time there
are two DOTTED TAA’s in each bar. Each dotted
Taa is made up of a rhythm called TA-TE-TI.

Ta-te Ta-te
D TAA
TE -I.
D OT TA-E The
The called D
is c OTT
COMP
is alle ED
dS S
A-E AA
OUN
DUPLE
-I.
D Ta-e-i Sa-e-i
Ta - te - ti Ta - te - ti

There are two dotted Taa beats in each bar hence we call it COMPOUND DUPLE time.
Clap and say these rhythms below before playing it on your recorder:

Exercise 1 Track 65

1st beat 2nd beat

Exercise 2 Track 66

Exercise 3 Track 67

Exercise 4 Track 68

Exercise 5 Track 69

29
 LESSON 22
COMPOUND TIME SIGNATURE
an In 3
w ith n /
s a
ture her th ND thre 4 time
n a e Ta th
ig i
e s eral h MPO .
g U a’s ere are
m in a
t i
Al er nu led C URES
l m O bar.
l
upp re ca IGNA
T
a
five IME
S
T

In 9/8 time there are THREE DOTTED TAA’s in each bar.

Each dotted Taa is made up of a rhythm called Ta-te-ti.

Ta-te Ta-te Ta-te

COMP
OUN
D TRIPL
E
Ta - te - ti Ta - te - ti Ta - te - ti

There are three dotted Taa beats in each bar hence we call it COMPOUND TRIPLE time.
Clap and say these rhythms below before playing it on your recorder:

Exercise 1 Track 70

Exercise 2 Track 71
1st beat 2nd beat 3rd beat

Exercise 3 Track 72

Exercise 4 Track 73

Exercise 5 Track 74

30
 LESSON 23
COMPOUND TIME SIGNATURE
is
a t ure E In 4
ign IM /4
e s ND T four time t
8t i m U Taa he
12/ OMPO URE. ’s in re are
e
Th a C NAT a ba
r.
also SIG

In 12/8 time there are FOUR DOTTED TAA’s in each bar.

Each dotted Taa is made up of a rhythm called Ta-te-ti.

Ta-te Ta-te Ta-te Ta - te

COMP
OUN
D QUAD
RUP
L E
Ta - te - ti Ta - te - ti Ta - te - ti Ta - te - ti

There are four dotted Taa beats in each bar hence we call it COMPOUND QUADRUPLE time.
Clap and say these rhythms below before playing it on your recorder:

Exercise 1 Track 75

Exercise 2 Track 76
Beats 1st 2nd 3rd 4th

Exercise 3 Track 77

Exercise 4 Track 78

Exercise 5 Track 79

31
 LESSON 24
TA-E TI
n
mi
yth
T I rh .
E e
e TA- d tim
t h u n
s is ompo
Thi c

TA-E TI Th
to b e Ta-
e e
tim play Ti rh
ea e y
s th d in thm h
eT t h a
a-e e sam s
-i n
ote e
See how the Ta-te-ti .
is distributed in the
Ta-e Ti rhythm.

=
Clap and say this rhythm below:

Ta-e-i Ta - te - ti Ta-e Ti Ta-e-i Ta-e Ti Ta-e Ti Ta-e-i Ta-e-i

Clap and say these rhythms below before playing it on your recorder:

Exercise 1 Track 80

Exercise 2 Track 81

Exercise 3 Track 82

Exercise 4 Track 83

Exercise 5 Track 84

32
 LESSON 25
HYMNS IN COMPOUND TIME
Before playing these hymns, please observe the time signatures, key signatures, ac-
cidentals and slurs. Ensure that you can clap the rhythm of each hymn and follow the
preparation steps before playing them. Breathe only at the end of each phrase.

Hymnal 261 - Sweet hour of prayer Track 85

// // //

7 // //

12 // //

Hymnal 187 - I will guide thee Track 86

// //

5 // //

9 // //

13 //

Hymnal 396 - The love of God Track 87

//

4 // // //

9 // //

13 //

33
 LESSON 26
TA-A TE TI

OR

Ta-a - Te - Ti Ta-a - Te - Ti

Note that each

group equals the
value of the Ta-e-i.

Clap and say these rhythms below:

Before playing the hymn below, please observe the time signature, key signature and
slurs. Ensure that you can clap the rhythm fluently before playing it on your recorder.

Hymnal 310 - Wonderful words of life Track 88

// // //

7 // // //

13 // //

17 //

34
 LESSON 27
NOTE G SHARP
Practice the new G SHARP in the exercise below:

Low G SHARP

A MAJOR KEY SIGNATURE

G SHARP
A piece of music is written in the key of A
Note the order in which the MAJOR when the sharp signs appear on the
sharp signs appear: First the fifth line, in the second space and above the
F sharp, followed by the C fifth line. This means the key signature for A
sharp and then the G sharp. major is F sharp, C sharp and G sharp. That
means all F’s, C’s and G’s, whether high or
low, should be played as sharps.

Before playing the hymn below, please observe the time signature, key signature
and all other information. Ensure that you can clap the rhythm of the hymn and do
the preparation steps before playing it. Breathe only at the end of each phrase.
This hymn should be played from the beginning to the end then to Refrain until Fine.

Hymnal 282 - Hark! Jesus calls Track 89

//

7 // //

13 THE END
//

19 //

35
 LESSON 28
TRIPLET RHYTHM

In the TRIPLET RHYTHM, the three

notes must be played in the time of the
first two notes e.g. three taa’s should
be played in the time of a taa-aa.

Ta - Te - Ti Ta - Te - Ti
Straw - ber - ry Straw - ber - ry

When playing the Triplet Rhythm we can say

Ta-Te-Ti or use a word like Straw - ber - ry.
= All three notes must be played evenly. =
Triplet rhythm will apply to simple time.

Clap and say the rhythm below before playing it on your recorder:

Before playing the hymn below please observe the time signature, key signature and all other
information. Ensure that you can clap the rhythm of the hymn and do the preparation steps
before playing it. Breathe only at the end of each phrase.
Remember that each triplet group in this hymn adds up to a taa-aa.

Hymnal 47 - Majesty Track 90 =

// //

9 // //

17 // //

25 //

36
 LESSON 29
NOTE A FLAT
Practice the new A flat in the exercise below:
The fingering is the same as that of the G sharp.

Low A FLAT

e FLAT MAJOR KEY SIGNATURE

he A piece of music is written in the key
i ch t e
h h of E FLAT MAJOR when the flat
r in First t flat
w
or d e
ar. E signs appear on the third line, in the
the appe y the
t e s b t. fourth space and second space. This
sign llowed e A fla
N o
a t means the key signature for E flat
fl fo en th
at,
B fl and th major is B flat, E flat and A flat.
A FLAT

Before playing the hymn below please observe the time signature, key signature and all other
information. Ensure that you can clap the rhythm of the hymn and do the preparation steps
before playing it. Breathe only at the end of each phrase.
Remember that each triplet group in this hymn adds up to a taa.

Hymnal 208 - Should my pathway Track 91

//

7 // //

14 //

37
 LESSON 30
TEST YOUR KNOWLEDGE 60

Question 1 - Identify each time signature as SIMPLE or COMPOUND time: [10]

____________ ____________ ____________ ____________ ____________

Question 2 - Insert one note below each asterisk to complete each bar according to the time signature: [10]

Question 3 - Insert one note in each blank bar for all the notes in the previous bar: 10]

Question 4 - Insert the correct time signature below each asterisk according to the given rhythms: [10]

Question 5 - Name the major key according to each of the following key signatures: [10]

____________ ____________ ____________ ____________ ____________

Question 6 - Shade the correct fingering on the recorders below according to the given notes: [10]

38
 LESSON 31
SA OR SE REST
s
e p lace Te
yr a-
u s uall n the T amed
st ei n
h i s re r the T will be
T ao t
ce i SE.
t h e T
h m
e n
. H A or
S
OR
t
rhy
Ta - Te Ta - Te

] When we replace the When we replace the

first note with a rest it second note with a rest
will become Sa-Te. it will become Ta-Se.
Sa - Te Ta - Se

Remember - we simply move our hands apart when we name the rest.
Clap and say the rhythms in these exercises below before playing them. Thereafter,
follow the usual preparation steps before playing the hymn below the exercises.

Exercise 1 Track 92

Exercise 2 Track 93

Exercise 3 Track 94

Hymnal 115 - We praise Thee, Lord Thou lion Track 95

// //

5 // //

10 // //

13 //

39
 LESSON 32
NOTE D SHARP
Note that this finger-
ing is exactly like the
E flat fingering.

Low D SHARP High D SHARP

E MAJOR KEY SIGNATURE

D SHARP
The two hymns below are in the key of E MA-
Note that the key signature of JOR. Before playing them ensure that you can
E major is F sharp, C sharp, clap the rhythms well. Look out for the A sharp
G sharp and D sharp. accidental. An A sharp is also a B flat. Take
special care of slurred notes.

Hymnal 192 - I’ve found a joy in sorrow Track 96

//

7 // // //

14 // //

Hymnal 434 - When He cometh Track 97

//

7 //

12 //

40
 LESSON 33
MORE SIMPLE TIME SIGNATURES

Note that the lower numeral in the above time signatures is 2. The 2 indicates that the
beat is a Taa-aa. Hence in 2/2, there are two Taa-aa’s in each bar. In 3/2 there are
three Taa-aa’s, while 4/2 consists of four Taa-aa’s. See the examples below:

1st beat 2nd beat 1st beat 2nd beat 3rd beat

Prepare the hymns below

before playing them. 1st beat 2nd beat 3rd beat 4th beat
Hymnal 185 - How firm a foundation Track 98
// //

9 //

Hymnal 374 - I heard the voice of Jesus say Track 99

//

4 // //

Hymnal 587 - God be with you Track 100

// //

5 //

41
 LESSON 34
NOTE D FLAT

Note that this finger-

ing is exactly like the
C sharp fingering.

Low D FLAT High D FLAT

A FLAT MAJOR KEY SIGNATURE

D FLAT
The two hymns below are in the key of A
The key signature of A flat FLAT MAJOR. Before playing them ensure
major is B flat, E flat, A flat that you can clap the rhythms well. Look out
and D flat. for the new D flat. The D flat is applicable to
low and high D’s.

Hymnal 84 - I am Thine, O Lord Track 101

//

6 //

11 // //

Hymnal 521 - Welcome glad Easter Track 102

//

8 // //

42
 LESSON 35
MORE COMPOUND TIME SIGNATURES
In 6/4 time there are six Taa’s in each bar. However, there
are only two beats in each bar because each beat con-
sists of a Dotted Taa-aa. 6/4 is a compound time signature
which means that each beat consists of three Taa’s.

1st beat 2nd beat

Hymnal 89 - I want to be like Jesus Track 103

1st beat 2nd beat 3rd beat 1st beat 2nd beat 3rd beat 4th beat

Hymnal 243 - Have Thine own way, Lord Track 104

//

4 // //

Hymnal 63 - Thanks be to God Track 105

// //

6 // // //

12 // //

43
 LESSON 36
TEMPO
= 56
The word TEMPO can be traced back to the
Latin word tempus, meaning time. It simply de- = 78
scribes the timing of music; in other words, the
speed at which a piece of music is played.
= 120
Tempo is indicated with a specific note and numer-
ic value. The numeric value indicates the number of
= 60 beats to be played per minute. The beat is determined
by the note value which precedes the numeric value.

This means that 60 Taa’s need to

be played in one minute. Which
means one Taa per second.

It is important to play the music at the prescribed

tempo as it sets the mood for the composer’s intend-
ed feel. By doing so we are respecting the composer.
Prepare the hymns below by firstly clapping it at the
TEMPO correct tempo before playing it.

Hymnal 256 - O Love, that will not let me go Track 106

// //

5 //

The hymn below must be played

at 120 Ta’s per minute. That
means two Ta’s per second.

Hymnal 252 - Nearer, my God, to Thee Track 107

// //

6 // // //

12 // //

44
 LESSON 37
DYNAMICS
DYNAMICS refer to the variation in loudness of
notes and phrases in music. This is indicated by let-
ters which stand for an Italian word which expresses
the various dynamic levels. Dynamics make music
very colourful and interesting.

It is important to know how loud or soft your instrument can play. Ensure that it remains in tune
when playing at your loudest and softest. Study the dynamic chart below and apply the dynamics to
the hymns that follow. Be careful not to over or underblow.

DYNAMIC MARKINGS
CRESCENDO DIMINENDO
p piano soft
mp mezzo piano moderately soft
mf mezzo forte moderately loud
The opening hairpin f forté loud The closing hairpin
means that the music means that the music
should get louder little should get softer little by
by little as it progresses. little as it progresses.
Hymnal 9 - God is in our presence Track 108
8 // // //

15 //

Hymnal 85 - I do not ask for earthly store Track 109

// // //

8 // // // //

16 // // //

45
 LESSON 38
HIGH NOTES ON THE RECORDER
These high notes are rarely used, however, when playing music written
for recorder, these notes are also used. These are not the only high notes
on the recorder however, it will suffice for this course.

Ge
rma
n fi
nge
ring
sys
tem
Bar .
oqu
e fin
geri
ng s
yste
m.

Ge
rma
n fi
nge
ring
Bar sys
oqu tem
e fin .
geri
ng s
yste
m.

Practise each of these

notes one at a time until
you can produce a clear
and confident sound.
Thereafter, play them in
succession as it appears
on the page.

Useful tips

- Relax your fingers.

- Pinch hole carefully at the
back.
- Do not overblow or under-
blow.
- Maintain good posture.
- Use the tongue effectively
- Breathe well.
- Balance the recorder in
the centre of the body.
- Be confident.
46
 LESSON 39
MAJOR SCALES AND ARPEGGIOS
OF C, G, D, A AND E
Below are some major scales and arpeggios. The MAJOR SCALE consists of seven different notes
that follow stepwise. Some notes might be repeated to extend the scale. The key signature must be
applied to notes that require it. The ARPEGGIO consists of the first, third and fifth notes of the scale.

Exercise 1 - C major scale to the twelfth Track 110

Exercise 2 - C major arpeggio to the twelfth Track 111

Exercise 3 - G major scale one octave Track 112

Exercise 4 - G major arpeggio one octave Track 113

Exercise 5 - D major scale to the twelfth Track 114

Exercise 6 - D major arpeggio to the twelfth Track 115

Exercise 7 - A major scale one octave Track 116

Exercise 8 - A major arpeggio one octave Track 117

Exercise 9 - E major scale one octave Track 118

Exercise 10 - E major arpeggio one octave Track 119

47
 LESSON 40
MAJOR SCALES AND ARPEGGIOS
OF C, F, B FLAT, E FLAT AND A FLAT

Exercise 1 - C major scale two octaves Track 120

Exercise 2 - C major arpeggio two octaves Track 121

Exercise 3 - F major scale one octave Track 122

Exercise 4 - F major arpeggio one octave Track 123

Exercise 5 - B flat major scale one octave Track 124

Exercise 6 - B flat major arpeggio one octave Track 125

Exercise 7 - E flat major scale one octave Track 126

Exercise 8 - E flat major arpeggio one octave Track 127

Exercise 9 - A flat major scale one octave Track 128

Exercise 10 - A flat major arpeggio one octave Track 129

48
 GERMAN FINGERING CHART

THUMB

C C# D D# E F F# G G# A A# B C C#
Db Eb Gb Ab Bb Db

THUMB

D D# E F F# G G# A A# B C C# D D#
Eb Gb Ab Bb Db Eb

49
 BAROQUE FINGERING CHART

THUMB

C C# D D# E F F# G G# A A# B C C#
Db Eb Gb Ab Bb Db

THUMB

D D# E F F# G G# A A# B C C# D D#
Eb Gb Ab Bb Db Eb

50
 GLOSSARY
Accidental - is a sharp(#), flat(b) or natural(n) sign that appears next to a note. The sign tells us whether to
play the note higher, lower or change it back to its natural state.

Anacrusis - is a single note or a few notes that precede the first full bar at the beginning of a phrase.

Arpeggio - when playing the first, third and fifth notes of a scale in succession, ascending and descending.

Baroque fingering system - is based on the fingering systems of the seventeenth century instruments.
The fourth hole on the recorder is bigger than the fifth hole.

Crescendo - a gradual increase in the volume of the music.

Compound time - when the beat is subdivided into three smaller units to form a single dotted note.

Decrescendo - a gradual decrease in the volume of the music.

Duple - means that each bar has two main beats.

Fine - the end of a musical composition.

German fingering system - this is different to the Baroque fingering system. The fourth hole on the record-
er is smaller than the fifth hole to simplify the fingering for the note F.

Key signature - is a set of sharps or flats that appears in a specific order next to the clef sign.

Leger line - a short line used for adding notes above or below the stave.

Meter - is the regular recurrence of the stressed beat after unstressed beats.

Overblow - when forcing too much air through the recorder and causes the notes to change pitch.

Quadruple - means that each bar has four main beats.

Refrain - a section of music that repeats itself after each verse.

Rudiments - the elements or building blocks of basic music notation.

Simple time - when the beat is subdivided into two equal units to form a single note.

Slur - is a curved line that connects two or more note heads.

Time signature - tells you how to count the music and appears in fraction format. The top number indicates
how many beats to count and the bottom number what kind of note to count.

Tonguing - the use of the tongue when playing a wind instrument such as the recorder.

Tonic solfa names - is a system of musical notation based on doh, ray, me, fah, soh, lah, ti, doh.

Triple - means that each bar has three main beats.

Underblow - when blowing insufficient air through the recorder and causes notes to sound underpitched.
52