OPORA KORSTA ANU: [non-english speech], which in my language means, g'day, everyone. My name is of Opora Korsta Anu and I'm a proud Torres Strait Islander woman from Saibai Island in the Torres Strait. It gives me great pleasure to acknowledge the traditional custodians of the land on which we stand.

We pay our respects to their elders past, present, and emerging and extend that respect to any Aboriginal and Torres Strait Islander people present today. The stars are our totemic spirits. May the stars shine bright wherever you are and guide you all.

SUSAN SUKKAR: Hello, everybody. I'm so excited to be here to present this teacher's workshop to you. And I really thank you for coming on board and being involved. It's not nearly as good as us getting all together, but circumstances make that impossible. So this is the next best thing that we can do.

While we go along, Peter Heywood will be collating your questions. And then I'll be able to answer them for you. So we'll get to that in a moment. But before we start, I wanted to just acknowledge the number of people that have worked behind the scenes for this production.

They say it takes a village to raise a child. Well, to make this whole workshop has been a labour of love for a lot of people. So apart from the group that will be introducing themselves to you when we have the performance of the work, I would like to thank Ian Jefferson, Sue Hill, and Jenny Birrell, who are part of my fantastic team that I work with every day, work very closely with.

And I'd also like to acknowledge three amazing technicians who are here, David Todd, Peter Copeland, and Peter Hayward, who are sitting in this room with me, helping to get this all happening. And it wouldn't happen without their help, I can assure you.

So they have all been so respectful and wonderful to work with. There hasn't been a single bad joke about the recorder. They've held their tongues and saved me from that humiliation. So I'm thrilled with the amount of support that we've had together. So thank you to all of those people.

Now the first piece that I'm introducing to you is called Galliard Battaglia. And I hope that you have all downloaded that and have the music in front of you. And we are going to start off with that work, because that's a new work that you haven't seen before. And I'm hoping that you'll be really enthused by, so that you can go back and start working with your children tomorrow, even.

Yes, before we start that too, I would like to acknowledge and thank you for persevering with music education for young children through this pandemic and all the upheaval. I know it hasn't been easy. I know that you've watched in despair as your programmes have, some of whom have shrunk and have gone from a vibrant programme to a very much smaller programme.

But the fact that over 200 teachers have enrolled in this workshop and are watching this right across New South Wales from each end of New South Wales is such a testament to the level of goodwill and generosity that you have towards our children.

They are crying out, and thirsty, and parched for creativity and music, and they've missed it so much. So I'd just like to thank you too for doing this for us.

There is an elephant in the room that we need to address and that is whether the concerts are going ahead. And Peter is going to give you a summary of what we are allowed to discuss with you. The short answer is that we don't know. We haven't cancelled anything. And we have some alternative plans in place in case we can't use the town hall for our concerts.

And they are very exciting. They're not the same, but they will be something for the children to work towards. So more of that from Peter. But let's get on to the work that we're going to work with today.

The first one, Galliard Battaglia written by Samuel Scheidt in 1621. And this is a very early Baroque work, German composer. And it's been arranged for countless ensembles and countless numbers of times, mainly brass ensembles. So if you look it up on YouTube, you'll see a multitude of different performances.

But this one is a new arrangement by Tracy Burjan who I'd like to acknowledge as well and I. And it has been written for a solo descant and a solo treble, really good players, as well as the recorder ensemble. So it's a piece of music that has very much contrasting voices, which is part of the early Baroque period, late Renaissance, where there are an upper and a lower voices pitted against each other.

And so that's what the battle of the piece is. So a question and then an answer coming back with different articulations and different ornamentation around them. So please play this with really robust articulation and the repeated quavered passages, da da da da da da. Use those to have an illusion of a battle going on.

Now if your school has no players of a sufficient standard to be able to play the two solo parts at the beginning, that's perfectly all right. You can just pick up the piece from letter B and start from there and it will work perfectly well.

So we have a recording now of a group of teachers playing this piece for you. This will be available after we finish today. And you'll be able to use it on demand with your students, which will be very motivating for them, we hope, and for you, so that you can watch and listen.

So we would like you now to have a listen to the full work. Follow your music or just watch it and enjoy. Because later, we're going to play it at a slower speed.

CATHY DAVIS: Hello, my name is Cathy. And I'm playing the harpsichord part of Galliard Battaglia.

ALICIA CROSSLEY: Hi, I'm Alicia Crossley from Birchgrove Public School. And I'll be playing the descant solo part for Galliard Battaglia.

SUSAN SUKKAR: Hello, my name's Susan Sukkar. I'm from The Arts Unit. And for Galliard Battaglia, I'm playing treble solo.

FIONA LUCAS: Hello, my name's Fiona Lucas from Chatswood Public School. And for Galliard Battaglia, I'm playing the descant one part.

PAUL BURJAN: Hi, I'm Paul Burjan from Mortlake Public School. And for Galliard Battaglia, I'll be playing the descant two part.

MATTHEW DOMARS: Hi, I'm Matthew Domars from Richmond Public School. And for Galiard Battaglia, I'll be playing the treble one part.

TRACY BURJAN: Hi, I'm Tracy Burjan and I'm from Concord West Public School. And for Galliard Battaglia, I will be playing the treble two recorded part.

ADAM KASALO: Hi, I'm Adam Kasalo from Strathfield North Public School. I'll be playing Galliard Battaglia, the tenor recorder part.

DANIEL MURPHY: Hello, I'm Daniel Murphy from Strathfield South Public School. And I'll be playing the bass recorder part in Galliard Battaglia. [instrumental music]

SUSAN SUKKAR: Well, I'm sure that you will all go to bed tonight singing those tunes through your head. They do get stuck in there. And you might be thinking, oh, right, yeah, impossible, I can't do that with my children. But I have actually taught this piece. I ran it last year with a group of children who were recording players at a school. And they were able to master it in a few weeks.

So it might sound complex right now, but there's a lot of repetition there that makes it much more easy to play. So remember that and look for the repetition in the parts. It's a really good teaching strategy if you can find all of the times that a section or a phrase repeats all the way through the piece and point that out to children.

It really helps them to be motivated, because all of a sudden, oh, gosh, we a quarter of the piece already, because that keeps coming back. And it's all about learning about structure in music and about repetition and contrast, which is the building blocks of a beautiful piece of music.

I've also had a question, is there a recorder reduction available? Yes, there is. And we can send that out after this with the links to these performances.

So this the next performance now we are going to do, you're going to hear, is a much slower version, starting at letter B, so not with those recorders playing at the beginning of the performance.

So now that you're playing this, it'd be great if you could pick up your recorder and try and bumble your way through it. Now one advantage is that nobody can see or hear what you're doing. And so play away and take risks. OK, enjoy.

Rehearsal tempo of crutched equals 84 for Galliard Battaglia. And we'll start at little b.

SUSAN SUKKAR: Hi, everyone. I hope you managed to play through that. But don't worry if you couldn't, because you've got many hours ahead of you and you can replay that video to your heart's content later.

So the next section of this part of the presentation is about isolating sections that might be tricky for particular parts. So all of us have gone through the repertoire and we were all experienced teachers. And we had a look at the parts that we thought might cause issues.

And we've sort of broken them down and playing them individually. So while you watch this part, you might like to circle that on your music and have a look and see where these tricky parts are and so that you can work with your students on those sections. So there's about seven or eight different grabs that you're about to see now. So I hope that's helpful.

Descant two part of the Galliard has got lots of tricky bits because we're going from high D and then we're down to low D. So we're using both hands. But I know you can do it. So I'm going to start it, letter B. And I'm just going to play it slowly to help you get used to it. Little b, 1, 2, 3.

Then we've got bars rest and then we're jumping down to low D. Then bar's rest. And notice that we've gone to F sharp. We have F sharps all the way through this piece. So if you think of a low D and then take your pointer finger up, you'll make an F sharp.

Going on again. And jumping down to low D. And then up to high D. That's a little bit tricky, high D to B, crossing over those fingers. Keeping on going.

Not too bad. And down to our F sharp and down low. And then.

So we have a C sharp, which is two fingers with no thumb at the back. Then down again. Back to C natural. Once you've got all of those under your belt, you're not going to have any trouble with the rest of the piece. So good luck with that.

FIONA LUCAS: So once again, looking at letter B, like our other instruments, when we come in, we've got some leaps and jumps. And ours go up to high G from D. So just be really mindful of where your half thumb is going to be there.

So you're just venting the right amount of air. And so it'll come out nice and high. And then if you look down a little bit lower on the page there at letter C at about bar 89, we suddenly get some semi quavers like in the advanced, the descant solo part.

And so we have to work really, really quickly with our fingers. And they're swapping around there. Let's try that together really slowly. So we have to make sure our fingers are neat and moving quickly. And then the next pattern there by 91 is a little bit easier.

Then if we look over at the second page, we've got some beautiful high A's to play. And we've got to make sure that we're only giving a little tiny bit, maybe a millimetre gap at the back there with our thumb, so that we get a beautiful high note.

And making sure you have lots of air coming through and good clear articulation, so those notes come out nice and high. So if I started 1, 2, 3, 4 bars after E.

Making sure we have lots of air that just that one millimetre of gap there for the air to vent for our high A. And then last of all, a little bit of tricky flipping around there between B, C, and D from bar 151.

We'll do that once nice and slow. And we'll try it fast again. Let's try it together.

MATTHEW DOMARS: In the treble one part of Galliard Battaglia, there are a number of high D's that you need to play. When you're playing high D on a treble recorder, it's very important that you only create a very small opening on the back. And I'll play one for you now. It's at bar 53. It sounds like this.

In the treble two part of Galliard Battaglia, there are a number of C sharps that have followed in the next bar by a C natural, which is important to take note of. So C sharp on the trouble is two, missing that third finger, and then the three. I'll play one for you at bar 72 followed by that C natural. It sounds like this.

ADAM KASALO: In the tenor part of Galliard Battaglia, there is an interesting section at bar 74 where the rhythm can be a little bit tricky. So I'm going to play it for you slowly and it might be good if you play along. I'll play it one more time slower.

DANIEL MURPHY: In the bass part in Galliard, we're going to set up the groove or the rhythm that supports the whole ensemble. So when we're at the three crotchets, we're going to play one a little bit longer and then short, short. It's going to sound like this.

I'm going to skip down to bars 70 and 71 now. We've got an octave jump from low G to high G. And bar 70 ends on a D and G to G. But then it ends on an E. So don't get tricked up with that pattern. It sounds a bit like this.

And the last bit I'm going to look at is bar 151. You'll see on the base part, there's two different parts. In the main stave, we've got the normal base part. And then a more advanced part for the advanced bass players. And you can ask your teacher which part would suit you best.

SUSAN SUKKAR: Hi, I hope that was helpful. We got some lovely comments through from people saying that they really appreciated that breakdown. So that's great to hear, because it's all brand new, all of this technology, and what we're doing. And it's really good to have your feedback.

So similarly, if there are things that you would like us to do differently or you have suggestions for things that will help you, please send them through. We'd be really pleased to consider them and take them on board.

So we have a question from a teacher that who is new to the programme and wanted to know why we insist on students' learning the music by heart and from memory.

And this is a practical application, because when we are in the Opera House or the Town Hall and we have hundreds of children, we absolutely don't have any room for music stands. And putting, as Ian Jefferson kindly pointed out, putting music on your lap is counterproductive for good technique. And the students can't look up and follow the conductor.

So that's why children need to learn the music off by heart. However, having said that, if you're playing your music at school and you don't have that constraint, by all means, use the music and keep the music stands there.

But learning to play music from memory is a very useful skill too. And you'd be surprised at how quickly children learn that, particularly if they're using a backing track and they're playing along with that backing track. They do learn probably much faster than us who are not quite as agile in our memory.

I do know, I remember being in a primary choral festival with the words written to a song on this tiny little palm card that I had, because I couldn't remember all the words. I can't imagine that Ian would be surprised about that.

However, moving on, some people have also asked about recorder brands. And yes, the Yamaha recorder, the white plastic Yamaha. I haven't actually got one here in front of me, but this is a Yahama, one of the better ones of their range.

But a white plastic Yamaha recorder. Oh, in fact, I do think there are some in the room, in fact. Yes, thank you. And actually, could you give me the case. Thanks. That's so strange. So this is the Yamaha 24B and that is the white plastic instrument.

It's in three parts, which is helpful for adjusting the bottom joint for children. Price point's around $10 to $11. So it's quite accessible for children to buy and readily available. So I would recommend that instrument.

We don't recommend the sparkly ones that people buy in the $2 shops. A, because quite often, they don't have the right fingering system down the instrument. So just as a point of caution, when you look down the instrument, the fourth hole should be very, very small. And that's the German fingering that we need to use.

The cheaper ones quite often have a really large hole there so that you can play F with just one finger. But it affects the tuning for the whole instrument and it's a real no no. So we want double holes at the bottom. And three pieces is the best type of instrument.

You don't really have to pull them apart very often. And they can sit in their case all put together. So I hope that the black belt recorders, I'm not sure how you would compare them. I think they're quite possibly good, OK. I have seen them before. I haven't actually used one before. But I haven't had any issue with them.

So yes, you can buy the black belt karate course. And it actually supplies a recorder. And I think the recorder is fine. It uses the right fingering system. So you don't have to get rid of those if you have those. All right, and that was just such a synchronicity having the recorders in the room. Thank you. Good thinking.

Now we're moving on to the second work that we're going to talk about now. And that is actually Concertino Bianco. So yes, Concertino Bianco is; I just wanted to give you a little bit of background about that. Now some of you had played this with your students. I hope you're enjoying it.

But I think you'll probably find that you need to go back over this anyway, work on this piece. And we've now got a performance for you to use to do that. So Concertino Bianco's written by a Latvian composer who studied with Khatchadourian. I won't try and pronounce his name.

But the reason why I decided to (Pelecis, I think) to use of this piece of music is because I really liked the very beginning of the piece where I thought for descant twos who are just starting out to learn to play a very simple tune beautifully with long legato lines, good phrasing, good breathing is often because they're so busy trying to learn the notes, and play the rhythms, and all of that lots of things suffer.

So what I would like to hear and I'd like you to practise with your students is this.

Now you'll notice I'm only playing B, A, and G. But I'm joining the notes together. I'm using a very legato, tonguing do, using the do sound. And I'm breathing. At the end of phrases. So this is what you probably hear at your school when you're starting out.

Now you can hear the difference between those two ways of playing the recorder. And one is smooth, and legato, and joining all the notes together, and tonguing very smoothly. And the other one is not tonguing and just playing puffs of air into the recorder.

So work on that with them. Because it's not easy. It sounds like it's easy when I play it, but it isn't actually easy to do. But once they get that sort of idea of phrasing and joining the phrase together, you can even put words to the music, if you wanted. (VOCALISING) Here we are in our school. We play very well. I just made that up on the spot. And it was a bit lame. So sorry about that.

But you will come up with something better than that and get the children to sing it with you. And then play it on the recorder. After all, to record the recorder got its name from to record, actually means to sing. So it was revered in the Baroque period and earlier for its qualities of sounding like a voice and singing. So that's how we have to play.

OK, so the next thing is now going to be you having a listen to the performance. Oh, the other thing that I really was keen to do too is to give an opportunity to those budding virtuosi pianists in your schools. So this is a piano concerto.

It's called Concertino Bianco, because it is in C major. And this is a little fun fact for your children. And C major uses the white keys of the piano and Bianco means white. So that's why it has that name.

So enjoy this performance. And you'll hear Cathy Davis, who's a very fine pianist, playing the piano part. And I think you'll enjoy hearing it all fitting together.

CATHY DAVIS: Hello, my name is Cathy. And I will be playing the piano part in Concertino Bianco.

FIONA LUCAS: Hello, I'm Fiona Lucas from Chatswood Public School. And I'll be playing the descant one part from Concertino Bianco.

ALICIA CROSSLEY: Hi, I'm Alicia Crossley from Birchgrove Public School. And I'll be playing descant two for Concertino Bianco.

SUSAN SUKKAR: Hello, my name's Susan Sukkar from The Arts Unit. And I'll be playing treble one for Concertino Bianco.

MATTHEW DOMARS: Hi, I'm Matthew Domars from Richmond Public School. And I'll be playing treble two for Concertino Bianco.

TRACY BURJAN: Hi, I'm Tracy Burjan from Concord West Public School. And I'll be playing the tenor record at the Concertino Bianco.

DANIEL MURPHY: Hi, I'm Daniel Murphy from Stratford South Public School. And I'll be playing the bass part in Concertino Bianco.

SUSAN SUKKAR: Wasn't that great? I'm sure it's brought back some nice memories to you. And so again, we're going to do the same sort of thing that we've been doing in the other piece. We're going to play along now with a slower version of the piece. And then you'll get some tricky bits that are explained.

You might notice that the descant two player was in the corner of that piece. And I've just had a talk with the David Todd, who has agreed, we will add that on to the first piece, Galliard Battaglia too. Because that's going to be very helpful for the descant two players to watch, and play, and follow the fingering.

So we'll make sure that that's on when we send out the links. I think that will be very helpful. So let's go now onto the slow version of this piece, so that you can play along. We don't start right at the beginning. We start when we go into the fast section of the piece, because you don't really need to slow down that very beginning section. It's already very slow. So we just play from halfway through the piece.

This is a letter D of Concertino Bianco at a slower rehearsal speed.

SUSAN SUKKAR: Well done, everyone, in that recording. I'm hoping that you enjoyed playing along with it. It's really helpful when you slow it down. And it will be very helpful for the children to help them learn the pace too.

So in a moment, we're going to go into the tricky bits again. But before that, I'm just going to answer a question and that is a recommendation for primary school recorder books, beginner and level two. And some people have actually commented in and talked about what they use.

And I like both of those are Progressive Recorder Methods, great. Upbeat Recorder is good too. But I'm quite similar to the person who asked the question that I find it quite hard to commit to one particular book. So I generally take bits and pieces out of lots of things and then rewrite them, so that I don't have to break copyright, or just copy a single page from a book that I have bought.

Lots of people use the Karate book series. And that's available, and easy to use, and quite motivational, because the children start off at white belt. And then as they get better, they pass little tests and then they get a different belt tied onto their recorder. So the bottom of their recorder is very pretty afterwards.

So all of those things are useful. And all of them have progressive, there's the Red Hot Recorder series too. I've used that a lot. Book two is really good. There are three levels with that. That's from Bushfire Press. So they're useful.

But I am actually going to point you to some other resources at the end of this webinar. So if you're going to stay right through to the end, I'll be telling you about some other resources that are available that are very useful.

So now let's go into our tricky bits. And we're coming towards the end of the whole webinar. So thank you for sticking with us. We won't be that much longer, maybe another half an hour.

In Concertino Bianco, we have deliberately written a very long, slow corale-like beginning. Well, we haven't written it. The composer wrote it. But we chose the piece, because we wanted to really emphasise the fact that we are going to play very legato and smooth tonguing and that we're going to breathe at the end of phrases.

So I'm going to play the descant two part. But this applies to all of the parts. This is letter B.

So all the parts are playing together there. And it should sound very smooth. The tonguing should be accurate. The breathing should be smooth and as though you're singing the piece. It's not very difficult to play in terms of the notes and rhythm. But to make it beautiful and sound smooth is really quite an art.

So I'm also now going to move on to discount to add letter F, which is a lot of fun and a different feeling altogether.

A little bit tricky with that tie across the bar, but we are all doing the same thing together. So that's helpful. And now I'm going skipping along to bar 123 for the descant twos. Descant ones are doing the same rhythm. Listen again. 123.

FIONA LUCAS: So in Concertino Bianco in the descant one part, our second note has to be F natural. So if you put all your fingers down on the recorder and then lift up your middle finger, there's F natural. And you want to blow it nice and gently, so it comes out very in tune.

And another note to watch out for is right of the end at bar 139, we've got a low C. And we want to make sure we've got all those holes covered there. And I'll play it quickly. This bar is a little bit tricky. So it goes. So I'll do it slowly.

Jumps around quite a bit there. I'll do it again now at tempo. And just be careful not to overblow those C's as you're coming towards the end with lots of enthusiasm. So we get.

MATTHEW DOMARS: In the treble one part of Concertino Bianco in bar 139, there is a tricky rhythm in terms of which notes you're playing and the order that they're coming. So I'll play it very slowly first. And then I'll show it at speed. So it sounds like this. And faster, it would be.

DANIEL MURPHY: In Concertino Bianco, in the fifth bar over the F, the bases and the tenors have the same rhythm. You might like to try a group clapping on the beat while the bases and tenors have a go playing the syncopated rhythm.

I'll play that again. And quickly down to letter G. We're using our whole range on the base going down to low G's all the way up to high A's. I think that's a note we need to know for this piece. So high A, it's like if we're playing treble, so five fingers with a half hole at the back. And we get to play the melody at H.

SUSAN SUKKAR: OK, so brownie points to those people that realised that when I played for you earlier, I played completely the wrong tune on the descant two part. I was playing from memory. And as we spoke about, my brain probably isn't quite as agile as it used to be.

So I played. And I should have played. Same tune, just different key. Anyway, that's my confession out of the way. And you saw me doing it properly later. And we had a question that made us all laugh, because we're sitting here wincing a little bit every time tuning becomes a problem.

So we have a question about tuning the recorders. And recorder and tuning are oxymorons. So the recorder is an instrument that is very difficult to play in tune, and particularly, if you put it with a piano, like we've had, there will be issues.

So tuning the recorder is completely possible, but not really something that you need to do. The way that we play in tune is by using our breath and adjusting the breath pressure. So you can hear the difference in the pitch of that sound.

So if the recorder is pushed together and all the pieces are together and not sort of elongated, and then you need to listen as a recorder group. Play lots and lots of exercises so that the children hear each other. And they will gradually come into tune together, as long as you encourage those children that are overzealous and blowing too hard to make sure that they are blowing in a gentle, warm air through their recorder.

So we are going to move on. And the next piece is In The Serpentine Mine by Damien Lane, fantastic piece of music. I was heartbroken when we couldn't perform it last year. And I'm just so keen that we do get the chance to do it.

It was commissioned for the Festival of Instrumental Music. And Damien has actually worked at the Arts scene Unit in a previous life. And he is now a celebrated APRA award winning composer and instrumentalist. And he writes these very distinctive and compelling scores. And he writes for documentary, and film, animation, theatre, and the concert hall.

So In The Serpentine Mine, it's got a very strong programmatic feel. And to me, it's reminiscent of a video game score. And the children really, really enjoy it. But Damian has really resisted the temptation to write about what the pieces is and giving it a story, because he would prefer that children make their own stories up to go along with the piece.

So you could use this piece in lots of other settings too. You could use it as the impetus for creative writing, or visual arts, or it could be the start of a whole, you know they could design a game, and look at programmatic music, and use that as an impetus.

So just have to think about that, because you are very, very clever creative people yourselves. And if you think along those lines, if you can make music more holistic across the board with children, that will really reinforce the learning for lots of areas as well.

So we aren't using a piano for this, because it's got so much percussion that, really, we need to use the backing track to play with, otherwise it loses its context. So have a listen now to the performance of In The Serpentine Mine by Damien Lane.

SUSAN SUKKAR

Hello, my name is Susan Sukkar and I'm from The Arts Unit. And for In The Serpentine Mine, I'll be playing sopranino.

FIONA LUCAS: Hi, I'm Fiona Lucas from Chatswood Public School. And for In The Serpentine Mine, I'll be playing the advanced descant recorder part

ALICIA CROSSLEY: Hi, I'm Alicia Crossley from Birchgrove Public School. And I'll be playing the descant one end two part for In The Serpentine Mine.

MATTHEW DOMARS: Hi, I'm Matthew Domars from Richmond Public School. And for In The Serpentine Mine, I'm playing the advanced treble part.

TRACY BURJAN: I am Tracy Burjan from Concord West Public School. And I'll be playing the treble one and two part for In The Serpentine Mine.

ADAM KASALO: Hi, I'm Adam Kasalo from Strathfield North Public School. I'll be playing the tenor recorder part for In The Serpentine Mine.

DANIEL MURPHY: Hi, I'm Daniel Murphy from Strathfield South Public School. And I'll be playing the bass recorder part for In The Serpentine Mine.

SUSAN SUKKAR: Hello, everybody. It's a beautiful piece, isn't it? I never ever get sick of listening to. It's a lot of fun for the children to learn. So we are going to move; I was going to play it again and let you play along with it. But I don't know that we need to do that today, because you're going to have a copy of this.

And the more important thing for me is to talk to you about other resources that are coming up. So let's do the tricky bits for this. And then we'll get into that little section where I'm going to tell you about some other resources for recorder players that are either advanced and beyond this, or, and this is more common, the students that are just starting out and the teachers that are just starting out.

Because there is certainly steps between this piece and the beginning. And we do have support for you. So let's go to the tricky bits now.

In The serpentine Mine descant one and two part, you'll notice that you're using your right hand on the bottom of your instrument to play low E's and F sharps. So although that can be a little tricky when you first start out, you'll notice also that you do it lots of times.

So once you learn at once, you be able to apply that to the whole piece. So I'm just going to start at the beginning and just play that for you. So you've got F sharp, low E, and low D. Good luck.

FIONA LUCAS: So there's a few things in the advanced decant part that just need your attention. First of all are the first two notes there before letter A. So you have to make sure you come in just a little bit before everybody else there with the and that'll match up perfectly with everybody else.

And then, again, a little bit later down at 23, make sure you've got lots of warm air when you're breathing deeply and blowing out nice warm air, so that your high notes sound beautiful. And then they'll match perfectly with everybody else.

Another little tricky bit at bar 38, we've got to B flat in there. And I'll just play from the bar before it, 37. Make sure you get that B flat fingering.

And there's another little tricky bit just after letter G. It's bar 79 to 80. And we have to jump in really, really carefully after the tied note. So I'm going to play from letter G for you, just so that you can lock in that rhythm.

I'll do it once more just to make sure you hear that rhythm and you can play along. So you have to jump in quite confidently on that note. And then there's lots of repetition. So you'll be fine with the rest of it. Good luck.

MATTHEW DOMARS: For the advanced treble part of In The Serpentine Mine, watch out for the eight quaver passages that happen all throughout the piece. For example, there's one at bar 61 that sounds like this.

When played fast, these runs can trip over your fingers and they're quite tricky. Also in the advanced treble part of In The Serpentine Mine are some high B flats, which look like this with the vented back. It sounds like this in bar 35 and 36.

There's also one E flat, which is in bar 75. E flat is this fingering here with the thumb on the back. And that bar sounds like this.

ADAM KASALO: For the tenor part In The Serpentine Mine, we're going to have a look at section B. And we're going to go from B to F sharp. And I'm going to play that for you now.

DANIEL MURPHY: So in the bass part in Serpentine Mine, one thing students should all be where's the F shops throughout the whole piece. So on bass, first two fingers with thumb off is our F sharp. I'm going to play you the melody at B. This is the most fun part on bass.

SUSAN SUKKAR: Thank you, everybody, for staying to the end of this. We are now coming to the end of our teachers workshop. And we are very aware that this is not nearly as satisfying, or fun, or there isn't the opportunity for networking like there is in person.

So we really, really hope that we are able to go back to our in-person workshops, and it's certainly going to be our intention to do that when we are able to. Now just to finish off, I want to speak to you about three things that are possibilities. And I did send you a PDF along with the registration this morning, the links that we sent out as a reminder to you all.

So if you have a look at that, you won't have to remember what I'm saying right now. And of course, you can always email me with any questions.

So the first thing that I wanted to alert you to is our Symphonia Jubilate, which is a community public school orchestra with a number of different arrangements within the orchestra. So we actually have two recorder ensembles that are part of that programme.

And they rehearse three times a term late on a Saturday afternoon at Homebush West Public School, which is adjacent to a train station. So this programme is for your more advanced students. So if you've got some keen little bean that you just can't keep satisfied in and they're moving way ahead of you, which happens a lot, I know this might be something that you can suggest to them.

Now I'm also thinking that those teachers out in the country going, oh, yea, Homebush West, yeah, well, that's not going to work for us. But we also have an outback, it's called Symphonia Jubilate Outback. And that is for players that are in regional areas away from Sydney that can't actually come to Sydney for the rehearsals.

So we Zoom out to them. And they get their music sent to them. And they watch the rehearsal and take part from afar. So we've got a group of 10 students on the far north coast of Maclean, and Iluka and Murwillumbah Public School.

And then there's other players coming from Goulburn and other players coming from Dubbo area. So there are players that are Zoomed in for that. So if you're interested in that, get in touch with me or go to their website that's on the form that I sent to you.

The other thing that I'd like to alert you to is a fantastic initiative by the Tasmanian Symphony Orchestra. And it's called Recorder Lift Off. So if you put that into a search engine, you'll find it. And it's a sequential set of play-along videos for beginner recorders and a chamber ensemble.

And there are 25 works that have been commissioned by the Tasmanian Symphony Orchestra. And they start off with just B. And there's a chamber ensemble playing this work. And then your music comes up and you play along. And there's a little talking head of a recorder playing actually playing the part, like you've seen in our videos.

They are free of charge, they're on YouTube. And you can use that as part of your resources. The pieces have all been written as original works by composers. So I think this was a project to give composers work during last year and players work as well. So fantastic initiative.

Finally, there's probably a little less ambitious, it's pretty comprehensive, a website that I have put together last year. And it's called Recorder Ready. And it's not quite ready yet, but it will be ready. I still have to caption and make accessible a few things.

But it is actually built and recorded. And so that is a beginner for the teacher that is starting out from scratch. And it starts off explaining how to run a rehearsal, what to do, which notes to teach, how to teach them, all tips, and traps, and different things that you need to know, as well as the music, and recordings of me playing the music, little tiny clips that last a minute or two.

Everything that you need to start a recorder ensemble in your school. If you know people that are trepidatious about this and would like to, but really don't know where to start, or that person is you, this will help you get going.

And by the time you finish that whole programme, it's about a semester's worth, about two terms worth, depending on how much you practise with your students and how much they practise, you should be ready to go into the Instrumental Festival. Because you will have learned all the notes for descant two for the Instrumental Festival.

So that will be coming out in the next couple of weeks. We will send you a link to it. And it's for all DOE teachers. And it is free of charge and on demand. So I really hope that that helps you get going.

If you've got any other suggestions for us, please send them in. Just email me. Ring me up, if you want to discuss anything. We really want to see music start to thrive again in schools. We all know how accessible and how valuable the recorder is as a tool for music education.

And we're here to help you in any way that we can. So please reach out if you have any ideas or you need assistance. And we will do everything that we can to help you. Thank you for staying right to the end of the webinar.

And I'd like to thank the team in the room who are looking quite keen to get going, because they're getting an early mark too. And they've got another one tomorrow and then more next week with Ian. So thank you so much for joining us. And play well and have fun with your recorder. Thank you. Bye.