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Recorder guide for the class

music in primary school
L.E.M Jaime René Hernández Grijalva

Xalapa, Ver., June 2008

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Preface
Searching in history for the origin or origins of the flute would take us on a very extensive journey through the
history of the various peoples of the world where the flute has been a very important element in development
their cultures. Indications of instruments that are similar to flutes have been found around the world.
and they have been given a predominant role in agricultural, pastoral, or merely social activities, as is
you can see in Hindu culture, where Krishna is depicted and portrayed with a flute, which is an instrument of
huge seductive power. Also in our continent there are remnants of the use of reeds for construction.
panpipes and quenas, and even clay ocarinas and many other aerophones that are associated with uses
rituals in the various peoples of pre-Columbian America. Asia is no exception, and in places like Japan,
Indonesia and the Philippines developed aerophones that closely resemble what we know today as
transverse flute. But regarding the baroque flute or recorder, it is in Europe where it originates and
development.
An instrument with pedagogical possibilities and as an essential tool for musical initiation,
Yes, without a doubt, the recorder. A very popular instrument in Europe from the Middle Ages until the end of the Baroque period.
Its use was relegated with the emergence of the classical orchestra, and it is in the 20th century that it reappears in the
educational field, being an essential tool in primary and secondary classrooms around the world
This guide is the result of two years of work leading the primary groups at the school.
Our World in the city of Xalapa, Veracruz. During this time, I have shared with my teacher colleagues,
students and indeed, with the school community, the result of what is practically a research project.
I must give credit to the insightful suggestions and support of my teaching colleagues, especially Ariadne.
Vázquez, for focusing my work within the Piagetian perspective and the stages of development.
.
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This guide, through two years of work and application, has proven its efficiency, developing in children the
fine motor skills, teamwork, the development of musical and auditory language. The first of the needs
to apply the lessons that will be covered here, was to make them as simple as possible and to advance them gradually
progressive in the degree of difficulty, so that they could be learned by most students.
The repertoire has been created by seeking popular melodies or, in their case, tunes that are interesting.
for the students and make them fond of practicing the flute and find it enjoyable.

I sincerely hope that this guide is as useful to teachers as it is enjoyable for students. Additionally, for being
a constantly growing material, any comment or contribution will always be welcome. My email
The email for this purpose is: jaimerenebass@[Link]
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The staff in my hand

Let's do a good experiment to learn what the notes on the staff are called. But first we must
Knowing that the word pentagram is derived from two Greek words: PENTA which means five and GRAMA which means to write; for
Thus, the staff is a set of 5 lines and 4 spaces where notes and symbols are placed.
musicals. The lines and spaces are numbered from bottom to top.
The exercise consists of the following: draw your left hand on the edge of a blank sheet of paper so that the thumb
I remained as the first of a series of five lines and in that order, the index will be where the second line is projected and so on.
successively until you have your staff, that is, five parallel lines. Then you can draw the treble clef, which is the
The first musical figure that our "scores" or songs that we will play with our flute will have.
After you draw your hand, you can make the lines using a ruler.

Fifth line, the note

Fourth space, the note Mi
Fourth line, the note
Third space, the note
Third line the noteSioTi____________________________
Second space, the note
Second line, the note Sol_ __ _ _ _ _ _ __ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
First space, the noteFa
First line, the note
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Practice in this image of the staff connecting the points of the treble clef figure.
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These are the notes that 'fit' on the fingers and between them. Do the exercise of copying them onto the staff.
empty. Maybe you want to give each one a different color or perhaps stick labels on your fingers and between them
whites with the name of the corresponding notes
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First three notes to learn

on the flute
Our first note to learn to play will be Si or Ti, remember it if you see it above the third line of the
pentagram or as if it were your middle finger. Interpret it on the flute as the diagram indicates. Then,
copy the exercise on the staff you have below, being careful to place the notes and the signs correctly
treble clef, time signature (in four-four time), the measures and the double bar with two dots, which
significance repeats from the beginning.
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Then perform the same exercise with note A.

Now try to play the first two notes together

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Our next note will be Sol.

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THE FIRST THREE NOTES OF THE FLUTE IN

Little Songs
In the following small pieces, you will discover the first three notes you have learned on your flute. I suggest
"sing them" so that you can strengthen your knowledge of the notes on the staff and pay attention to the elements
musicals that this small score has and copy it just like the previous exercises.
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In Mary Ann, the elements called boxes appear along with the repetition bar. This means that the
what is inside the first box is only played on the first turn, in the second, obviously, the notes will be played
from the second box. In this little tune, only the first three notes we have learned so far also appear.
Now. Practice it and copy it so you can become familiar with the notes and their location on the staff.
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In the following song, we will learn how to play the E5, E6, and C6. Copy the exercise, and sing it solfège.
(sing it by saying and putting the notes to melody), sing it with the lyrics it has and play it on the flute. Then try to play it.
in the form of a canon. (Ask your teacher to explain what this musical form is about and to direct them)
Another suggestion is that you can assign a color to new notes that helps you identify them better.
quickly.
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London is burning
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Re5 Re6 Do6

In the following melodies, the learned notes will be applied. To reinforce your knowledge of them,
copy the exercises and then play them; if possible, have them accompanied by guitar.
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March of the Saints

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In the melody of Jingle Bells, you will notice a new note: the E5. I suggest that you locate and
mark with the color of your preference.

My 5
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MORE SONGS WITH THE NOTES YOU KNOW

The musical game called Canon is possible in this song. Where it is marked with a number.
enclosed in a little circle, it is the place where the first voice enters, where the number is located the second and thus
successively. The last four measures are not part of the song itself, they are something called basso continuo and
It should be done throughout the entire song with only a few flutists supporting the canon.
Following the custom of previous songs, copy them onto the empty staff that is left for you below or
in your case, in your notated notebook; solfegge it, sing it with your classmates and then interpret it on your instrument.
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Pass the battalion

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The following song is very simple and aims to make you see the difference between the values of the
white notes, black notes, and eighth notes.
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In the song Bingo, a new note appears: the F. Furthermore, in this song, this note
we will call it fa #, because at the beginning of the score the symbol # is located on the fifth line of the
pentagram. This is called armature and means that any F that is found will be sustained,
Also, in musical language, it means that the key is G major.

Fa #5
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In the following melody, you can appreciate the 'key signature' with a flat ( ), which indicates that the tonality is in
A major. Therefore, all the notes B, that you find in the score are flat and are played on the flute as such.
indicate on the diagram.
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B flat

You can play this song once with your flute and alternate it with the singing accompanied by the guitar.
or your teacher's keyboard.
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Full lyrics of Carabirulí, carabirulá

A carabí girl is going by car, (repeat)

Daughter of a carabirulí captain, carabirulá. (repeat)

2. What beautiful hair he has! carabí, (repeat)

Who will comb it? carabirulí, carabirulá (repeat)

With a little golden comb, carabí, (repeat)

and crystal forks, carbirulí, carabirulá (repeat)

4. The little girl is sick, carabí, (refrain)

Maybe it will heal, carabirulí, carabirulá. (repeat)

5. The girl is already healthy, carabí, (repeat)

Eager to play, carabirulí, carabirulá. (repeat)

6. And at the foot of your window, carabí, (repeat)

with a desire to play carabirulí, carabirulá. (repeat)

7. Singing the pío, pío, carabí (repeat)

singing the pío pá, carabirulí, carabirulá. (repeat)
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This is F# (sharp) and in the song it should always be located from the
armor (beginning of the song).

This is sun# and it appears in the change of 'armor' halfway through the song.

The D# also appears in the change of key or "tonality" (E major)

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The D# appears incidentally in the 10th measure and as part of the change of
tono a la mitad de la pieza.

This is the lower octave of D#.

And lastly the la#

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Surely you know the following melody, theme from the movie Titanic. By now, you will be able to
decipher more easily how to play each of the notes, otherwise, review the previous ones
songs and/or compare either with the diagram of your hand staff or with some of the previous songs.
Note also that the section called A is repeated, as there is a repetition point in measures 9 and 16.
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Another thing to remember with this melody is the value of the sixteenth notes.