1. Reflexive association of the note name and the fingering. (This includes learning all the notes normally associated with the recorder's range and practicing them until they can be played easily and with good tone. (Beginner)

2. Reflexive reading of musical rhythm. (Beginner)

3. Reflexive use of good "form" for playing the recorder including: breathing, hand placement, embrochure, posture and articulation. (Beginner)

4. Reflexive association of the note name and the appearance of notes on the staff(s), esp. treble clef, and particularly accidentals and intervals. (Beginner)

5. Development of a repertoire of solo pieces and introduction to consort (ensemble) playing. (Beginner/Intermediate)

6. Reflexive recognition of common melodic and rhythmic "figures" from the repertoire. (Beginner/Intermediate)

7. Comprehension of the "rhetoric" of music: phrasing, cadencing, etc. (Beginner/Intermediate)

8. Sufficient music theory to understand and appreciate the differences between periods of the recorders' heyday, Major and minor key signatures, and common found time signatures. (Beginner/Intermediate)

9. Recognition and use of the most common ornaments appropriate to the Renaissance and Baroque periods. (Intermediate)

10. Ability to sight read with agility and ease. (Intermediate)

11. Reflexive awareness of the shapes and rhythms of ornamentation appropriate to each period of early music (Intermediate/Advanced)

12. Knowledge of stylistic characteristics and presentation appropriate to the music according to historical writings (historical performance practice). (Intermediate/Advanced)

For All Students:

• Set aside the same time each day for practice, at least five days a week. The most successful students are those who make practice a part of their daily routine.  It is much more useful to practice a small amount of time every day than to attempt to "cram" practice in the day before or day of the lesson. At first, two rehearsals per day of 10 minutes each, may be preferable for some students with developing attention spans.
• Try to get in a minimum of 10 minutes rehearsal DAILY. Do not rehearse longer than 45 minutes without taking a 10 minute break.
• Before a long rehearsal (45 minutes), warm hands and forearms in hot water for 2-3 minutes and stretch as per direction.
• Maintain notes to share with me at lesson times. These should address what is or is not progressing well, plus any special problems or questions.
• Start rehearsals with a warm-up: 1st, breathing exercises; 2nd, tonguing; and 3rd, fingers. Work your Mastery Piece. Then begin repertoire work with a slow piece or movement. (Finish rehearsal with 3-5 minutes of stretching as a cool down.) Unfortunately, any musical instrument can lead to soft tissue injuries over time (such as tendonitis or Repetitive Motion Syndrome) unless good technique is used together with sensible practice habits.
• Clean your recorder thoroughly after rehearsal. Take it apart and allow it to dry slowly in its case.
• Always bring assigned written homework to each lesson so that progress may be monitored.
• Have your instrument out and warmed up and your music notebook in hand when you arrive for your lesson in order to make the most of your lesson time. Try to warm up just before arriving for your lesson. I encourage students to come a bit early and listen to the end of the previous student's lesson. Students may also stay a bit late to observe and learn from the student(s) after them, too.

(Suzuki students will be assigned daily music listening which is usually most effective when done while the student is getting up and getting ready for the day each morning and again while preparing for bed at night [and maybe while dropping off to sleep]. Others times are encouraged, too. Specific listening assignments should be done right before practice times.)

For Parents of Young Musicians:

• All students should practice a minimum of 10 minutes per day.  Longer practices should depend upon attention spans as well as daily schedules.  Two rehearsals a day often works very well.
• -Practice of any musical instrument is far more beneficial when experienced daily, with never more than one day's break at a time. Extra long rehearsals are seldom very helpful in the long run.
• -When you are deciding with your child the times he or she will practice (for at least a week at time), please take into consideration the following:

a. The "body-clock" of your child. Some children are very tired immediately after school and need time to unwind and relax. If you have a "morning" child, it might be wise to encourage practice before school. Other children will do best in the afternoon or evening.

b. The noise level in your home. Please, try to give your child quiet time as well as your undivided attention while he or she is practicing. Practice should be approached as enjoyable work. Musicians need to be focused and alert when practicing, or the time spent will be of little value.

c. Your child's personal temperament. Supervision is a must for Suzuki students until they reach a certain level of proficiency. If your child requests solitary practice, please discuss this with me before complying.

• If mistakes in the music are repeatedly occurring during home practice, and I don't catch them in the studio, please call or e-mail me about them in advance of the next lesson.

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