RECORDER I Grades 5

RECORDER I Grades 5–6 Sampler

SPOTLIGHT ON MUSIC

Judy Bond

René Boyer

Margaret Campbelle-Holman

Emily Crocker

Marilyn C. Davidson

Robert de Frece

Virginia Ebinger

Mary Goetze

Betsy M. Henderson

John Jacobson

Michael Jothen

Chris Judah-Lauder

Carol King

Vincent P. Lawrence

Ellen McCullough-Brabson

Janet McMillion

Nancy L.T. Miller

Ivy Rawlins

Susan Snyder

Gilberto D. Soto

Sr. Lorna Zemke

AUTHORS

KODÁLY CONTRIBUTING CONSULTANT

SPOTLIGHT ON MUSIC

RECORDER I Grades 5–6 Sampler

NOTE TO THE TEACHER

MUSiC STUDiO SPOTLIGHT ON MUSIC: Recorder contains soprano and alto recorder

activities for McGraw-Hill Education’s SPOTLIGHT™ ON MUSIC, Grades 5 and 6. The

activities are blackline masters that can be duplicated for student use. Teaching suggestions

are on the back of each blackline master. Lessons 1–18 are correlated to SPOTLIGHT™ ON

MUSIC, Grade 5. Lessons 19–36 are correlated to Grade 6.

This resource contains the following:

• Fingering charts.

• Practice patterns, teaching suggestions, and tips on recorder technique.

• Playalongs, harmony parts, and ensemble work.

• Opportunities for student improvisation.

• Creative activities related to songs in the blackline masters.

Recorder playing reinforces a wide range of musical skills, including note-reading and music

theory. In addition, it provides an excellent foundation for participation in your school’s

instrumental music program.

Writer

Virginia Ebinger

www.mheonline.com

reproduced in print form for non-profit educational use with

MUSiC STUDiO SPOTLIGHT ON MUSIC, provided such reproductions

bear copyright notice, but may not be reproduced in any form for

any other purpose without the prior written consent of

McGraw-Hill Education, including, but not limited to, network

storage or transmission, or broadcast for distance learning.

Send all inquiries to:

McGraw-Hill Education

2 Penn Plaza

New York, NY 10121

A_MU05_REC3_REC01_A

Note to the Teacher

page ii

R•6

Fitting Pieces Together

page 11

R•12

The Backbone of Harmony

page 23

R•18

Another Note, Another Mode

page 35

Table of Contents

GRADES 5–6 iii

R•20

All in the Family

R•26

A Recorder Threesome

Soprano Recorder Fingering Chart

Alto Recorder Fingering Chart

page 39page 39

page 76

page 51

page 74

www.mheducation.com/prek-12/explore/music-studio/online-sampling.html

A_MU05_REC3_REC01_A

Recorder Master R • 6

Fitting Pieces Together



 

 





& 4

Fine

D.S.

 







 







& 4

 





 

Pitches: D E G A B D

 11

Objectives

 



 





Preparation

 



 



 

Procedure

 



 

silently on the playalong.

 









 





 







 











 



 





 











Using Recorder Master R•6

12 

A_MU05_REC3_REC01_A

You have learned that any two or more pitches sounded together make





dominant chords.



in every key.



complete they have three tones and are called triads. You can see their

structure more clearly on a keyboard.

 



 



Tonic Chord (I)



Dominant Chord (V)



 



  

 

with these chords.

 

   

 Date

Pitches: C E F G A B C D

Recorder Master R • 12

The Backbone of Harmony

 23

Objectives

 

chords and to play in harmony the tones that



 





Preparation

 







 





& 4

œ œ œ

˙ .œ

œ œ .

 

students can clearly see the structure of

triadic chords.

Procedure

 



tonic and dominant chords as the most



our music.

 





more clearly the thirds on which they are

built.

 



 





students will be assigned that note.

 



instance—then conduct the class in playing



 



one or five fingers which chord should be

played as you play the song again.

 



 





one note in common.

 



 











dominant chords.

 



instruments.

 





 

 





Using Recorder Master R • 12

24 

A_MU05_REC3_REC01_A



modes. Play its first five tones—E to B and back down to E—and

listen to its minor sound.



in addition to the G, sometimes called the Spanish

Phrygian mode. Play this from E to B and back to E. Listen to the

difference.

˙ ˙#

 

G – G

– G G – G

   



 

 

œ#

1, 4

œ#

˙#

2, 5

œ#

˙#

œ œ œ œ œ

3, 6



œ œ œ

œ œ

œ ˙

˙#

œ#

œ œ



œ œ

œ#

œn

œ œ

˙#

 Date

Pitches: E F G G

A B C

Recorder Master R • 18

Another Note, Another Mode

 35

Objectives

 

the recorder.

 





 



Preparation

 



 



two players.

Procedure

 

understanding of modes











 

sound comes from its particular arrangement

of tones from E to E

on the keyboard.

 



 

 

progressions suggested on the Recorder





 











 

assign each of them a numbered part in

the playalong.

 



 

Using Recorder Master R • 18

36 

A_MU05_REC3_REC01_A





 

, D





 





 

 

do re mi so la

 la

do, we call it La pentatonic

 







 



˙ ˙

 

 Date

Pitches: SR: C D F G A C

AR: A C

A_MU05_REC3_REC38_B

A_MU05_REC3_REC38_A

A_MU05_REC3_REC25_A

A_MU05_REC3_REC18_C

Recorder Master R • 20

All in the Family

 39

Objectives

 



 



Preparation

 





 



Procedure

 





 

















 









 







 









 





 







 la



Note that the pentatonic scale has no fa

ti,fa

ti



(D)

(minor)

 

˙ ˙

 





Using Recorder Master R•20

40 

A_MU05_REC3_REC01_A





Œ Œ

œ œ



˙ œ œ

˙ Œ

œ œ

˙ Œ

œ œ

˙ œ

 Date

Pitches: SR: D E F

G A B D

AR: G A B C

Recorder Master R • 26

A Recorder Threesome

 51

Objective

 



Preparation

 









 







Procedure

 



 



1. 





















2. 







3. 







 









 



Using Recorder Master R•26

52 

Ready to learn more about Spotlight on Music? Register for a free 30-day trial at:

www.mheducation.com/prek-12/explore/music-studio/online-sampling.html

A_MU05_REC3_REC01_A

Soprano Recorder Fingering Chart

S_MU05_R5-6_p74_Sop_C

A_MU05_REC3_REC26_B

S_MU05_R5-6_p74_Sop_C-sharp

A_MU05_REC3_REC26_D

[S_MU05_R5-6_p74_Sop_D]

A_MU05_REC3_REC26_E

[S_MU05_R5-6_p74_Sop_E]

A_MU05_REC3_REC20_A

[S_MU05_R5-6_p74_Sop_F]

A_MU05_REC3_REC26_C

[S_MU05_R5-6_p74_Sop_F-sharp]

A_MU05_REC3_REC32_A

& w

[S_MU05_R5-6_p74_Sop_G]

A_MU05_REC3_REC18_E

& w#

[S_MU05_R5-6_p74_Sop_G-sharp]

[S_MU05_R5-6_p74_Sop_A]

A_MU05_REC3_REC18_C

Name Date

74 GRADES 5–6

A_MU05_REC3_REC01_A

[S_MU05_R5-6_p75_Sop_B-flat]

A_MU05_REC3_REC18_D

[S_MU05_R5-6_p75_Sop_B]

A_MU05_REC3_REC18_A

[S_MU05_R5-6_p75_Sop_C1]

A_MU05_REC3_REC38_A

[S_MU05_R5-6_p75_Sop_D1]

A_MU05_REC3_REC25_A

[S_MU05_R5-6_p75_Alt_C-sharp1]

Name Date

Soprano Recorder Fingering Chart (Continued)

GRADES 5–6 75

A_MU05_REC3_REC01_A

& w

[S_MU05_R5-6_p74_Sop_G]

[S_MU05_R5-6_p74_Sop_A]

A_MU05_REC3_REC32_A

[S_MU05_R5-6_p75_Sop_B-flat]

A_MU05_REC3_REC18_F

[S_MU05_R5-6_p75_Sop_B]

A_MU05_REC3_REC18_G

[S_MU05_R5-6_p75_Sop_C1]

A_MU05_REC3_REC18_E

[S_MU05_R5-6_p75_Alt_C-sharp1]

[S_MU05_R5-6_p75_Sop_D1]

A_MU05_REC3_REC18_C

[S_MU05_R5-6_p76_Alt_E1]

A_MU05_REC3_REC38_B

[S_MU05_R5-6_p76_Alt_F1]

A_MU05_REC3_REC18_I

[S_MU05_R5-6_p76_Alt_F-sharp1]

[S_MU05_R5-6_p76_Alt_G1]

A_MU05_REC3_REC18_H

Alto Recorder Fingering Chart

Name Date

76 GRADES 5–6