Teaching Recorder: What Pitch Set Should I Use?

• Karen Stafford
• Posted 8/31/21
• 0 comments

Note: The term “recorder” references a C Baroque soprano recorder. 

The recorder is the go-to teaching tool for many music teachers to reinforce pitch reading and early band preparation. It is an instrument that many students can afford and will keep and use for a lifetime. But, how exactly should one begin to teach recorder? Specifically, what pitches should we teach first? And finally, how should pitches be introduced: by eye or by ear? 

Isabel McNeill Carley was one of the American Orff Schulwerk Association founders and the premiere recorder teacher for early American levels courses. She started with C’ and A with older children and adults, and with younger children, she began with G down to E, involving both hands right away.  

These strategies utilize the falling third because it is the “natural chant of childhood” and the basic interval for both Orff and Kodály approaches (Carley, 2011). Gunild Keetman, Orff’s collaborator and the major catalyst for spreading the Orff philosophy, began her students on C’ and A as well (Keetman & Ronne).  

However, most materials I had encountered during my years of teaching included directions on starting with BAG or some combination therein. When I checked online at West Music, the VAST majority of books began with the pitches BAG (see appendix). 

I wanted to go to the experts. What do teachers prefer? The results in a survey of 219 music teachers from various Facebook music teacher groups include: 

• 63% started with BAG. 
• 16.4% start with EGA. 
• 13.2% start with ACD. 
• The rest started with various other pitch patterns. 

Pedagogical reasons for teaching BAG: 

• BAG is numerical and simplistic. 
• A wide variety of songs include only these three pitches. 
• The student may find it easy to place fingers for a downward pattern. 
• The fingerings most closely match woodwind fingerings. 
• The students responded best to BAG after the teacher tried various combinations of others. 
• Breath control is more accessible in middle ranges. 
• Some teachings find BAG is easier for audiation. 
• This combination lends itself better to major mode and sightreading in the key of G. 
• The BAG pattern works more efficiently for fine motor skills. 
• Students receive quick positive feedback with BAG.  
• Uses only one hand and one finger/thumb 
• Most curricula/method series begin with these pitches. 
• Many teachers began with BAG in their own education.  

Pedagogical reasons for teaching EGA: 

• Students begin with their right hand immediately. 
• Beginning with a pattern that includes E aids in a better, warm tone quality with gentle air. 
• Teachers can transfer this pattern to so-mi-la songs for those trained in Kodály. 
• Beginning with EGA facilitates better hand position and hole covering. 
• Students are introduced to a difficult finger immediately.  
• Various Orff levels courses include this pattern in their recorder segments. 
• The right hand provides an anchor for the students. 
• EGA corresponds with teaching low la. 

Pedagogical reasons for teaching ACD: 

• As with the EGA, this pitch set involves so-mi-la for those trained in Kodály. 
• ACD only uses one hand. 
• ACD is within the young child’s singing range. 
• ACD is easy for children with small hands. 
• Students find quicker success with ACD. 
• Since the third finger can be weak, ACD avoids G until hands are stronger. 
• Various Orff levels use this pattern. 
• The ACD pattern lends itself well to improvisation 

There are pros and cons to all of these considerations. If you don’t do what Keetman or Carley or your favorite music teaching buddy does, though, don’t automatically think “I’m behind! I’m doing it wrong!” On the other hand, don’t dig your heels and think “I’ve done it this way for years, and I’m not going to stop.” Look over the pros for each beginning fingering set, and then consider your students.   

In the second part of this article, we review some considerations for choosing the best approach for your classroom. In addition, we will tackle the idea of teaching by ear or by eye first. Teaching Recorder: Teaching by Eye or Ear?

Appendix

BAG – Recorder Methods: 

• The Recorder Guide by Johanna Kulbach and Arthur Nitka 
• Recorder Express by Artie Ameida 
• The Complete Recorder Resource Book by Denise Gagne 
• My Recorder Book by Sandy Feldstein 
• Essential Elements Recorder Classroom Method by Kaye Clements, Paul Lavender, and Charles Menghini 
• Recorder Karate by Barb Philipak 
• Hands on Recorder by Gerald and Sonya Burakoff 
• Sweet Pipes Recorder Book One by Gerald Burakoff and William Hettrick 
• Recorder Time by Gerald Burakoff and Sonya Burakoff 
• Yamaha Recorder Student by Sandy Feldstein 
• Recorder Success by Chris Judah-Lauder 

AC’D’ – Recorder Methods: 

• Elemental Recorder Playing by Gunild Keetman and Minna Ronnefeld 

EGA – Recorder Methods: 

• Making Tracks by David Thaxton 

Other – Recorder Methods: 

• Conversational Recorder by John Feierabend 

References

Carley, I.M. (2011). Making it up as you go. Brasstown Press. 

Keetman, G. and Ronnefeld, M. (1999). Elemental recorder playing: Teachers book.(Trans. M. Shamrock). Schott. 

---

Shop This Toolbox