Tips and traps

Fortunately, the recorder lends itself to a less formal seating arrangement than other instruments, and may comfortably be played at desks with the music sitting on the desktop. Ensure that students have enough room, and are sitting back from their desks so they can hold their instruments comfortably in front of them. Alternatively, young players can sit on the floor cross-legged. You can then be in close proximity to observe correct hand position and fingering.

The old adage 'often and frequently' applies to the practice of the recorder as well as any skill building. The more often the children play, (and you too) the better. If you are able to play every day with your class, this will achieve rapid results and serve to further motivate the children. Ten minutes each day is ideal. Encourage your students to pick up their instrument as part of their daily routine. Similarly, a twice weekly rehearsal of 15 minutes can be more effective than one 30 minute lesson. Keep the lessons short and sharp and set small achievable goals.

Setting goals for both your rehearsal and for the students is an effective way of focusing and orientating the recorder lesson. Too often, teachers start at the beginning every time they rehearse, meaning that the beginning of the piece may be solid, but playing quickly deteriorates. Strategic planning for your lesson really pays off.

Consider the following:

• Can you break the piece up into themes? It may be a 4 bar passage that repeats throughout the work.

• Teach this theme to the children, then identify where it repeats. This is often heartening for you all as you recognise that a large chunk of what you are teaching is already learnt.

• Set goals for your students. Make them small and manageable. Children often become overwhelmed if they are sent home to practice a whole piece. Perhaps try:

  • from letter F to G or

  • learn the middle line or

  • practice going from G to E without a squeak'

• Always follow up with your students. They are more likely to take on the challenge if you follow through and listen to their progress. Consider beginning your rehearsal in the middle, or even the end of the piece. Set goals for yourself and the recorder ensemble. For example: Today we are going to work on bars 3 and 4 of Hot Cross Buns, concentrating on having no squeaks and tonguing each note.

If you are able to achieve this in a rehearsal , this will be a giant leap forward in your progress towards playing the recorder beautifully.

Warm-ups are used by all musical ensemble directors to focus and engage players. The recorder is no different.

The warm-up sets up the rehearsal. It settles the students, and allows you to watch and listen carefully. It also sets the expectation of a disciplined and goal-oriented lesson. The warm-up can be as simple as you playing a 4 beat rhythm on a single note ( see First notes for examples) or it may be a motif from the music you are studying, a scale or a pure listening exercise where you play hidden from the children and ask them to replicate the phrase.

Use the warm-up to give you feedback on the students. Is the left hand at the top? Is the right hand at the bottom of the instrument? Are the children covering the holes correctly? Are the students articulating? Are the students listening effectively?

Employing silent practice is an effective way of giving yourself (and the students) an aural break in a recorder lesson. Ask the students to put the recorder on their chin and follow your fingering. You can play and have them listen and play along silently. Taking the instrument out of their mouths gives the students opportunity to concentrate on their fingers, and gives everyone a rest from listening to the inevitable squeaks.