Not everyone gets excited about old things, but I am excited about new applications, rediscoveries and the adventure of experiences in classroom activities that increase potential and offer opportunities for creativity.
Several years ago I was transitioning from a boring full-time job to “being”. A former music teacher, I had been playing recorder with a local group of talented and very dedicated musicians in my (then) mountain town, Charleston, WV. My concept of the recorder was unconventional. My recorder friends had tradition in their heads, but there was another stream I also had encountered that kind of freed me up from those boundaries. For years, though classically trained, I had been playing folk music, blues, and with a worship team, very contemporary music in a more popular worship vein, alternating with guitar and harmonicas. Following a more Celtic concept, my style was more about sound and breath and sass, less about convention. So it was a bit of a cross cultural experience, playing with the conventional recorder group, and pretty hard to convince them that my first recorder teacher had been Ken Wollitz, a member of the New York Pro Musica, a fairly well sanctioned early music group in the sixties and seventies. But we worked it out and I learned a great deal from my fellow musicians in the Players there in Appalachia.
As I played in worship for many years, many non musicians came to me for lessons, who thought they would like to play at the recorder - a very clear, simple and poetic instrument that enhanced the music we played, fittingly contouring the vocal lines, making agile fills. It was the young and uncertain that the instrument attracted. Seemingly less complex than guitar or keyboard, they thought they could do it. And that was good. Because I think anybody can, within the limits of their finger agility and breath sensitivity.
Life takes you down a lot of trails, some you choose, some you find thrust upon you. But delays and sidetracks not withstanding, fast forward twenty years, and here we are. The book is nearly finished, outlining a method, a teaching/learning strategy I “discovered” as I worked with these wannabe musicians. Many of them are, to this day, very accomplished musicians. So I find it proven true that the step by steps I found actually do work.
What I found is that playing the recorder is like dancing for breath and fingers and for the heart. It is about aesthetics and attitude first, and then about patterning certain finger-gestures, avoiding stress, concentrating on sound music making, choosing your own traditions. It is a great instrument for beginners of any age, there are no reeds to break, no strange tunings to keep up with, no fancy schmancy keys and wires. Just a simple, slightly conical pipe with finger holes and a fipple (whistle cut).
After taking a class of third and fourth graders through the finished outline recently I am excited to find the same enthusiasm in me for teaching that I had twenty years ago in being something of an instrumental rebel. Breaking new ground, whether conceptually as an artist or personally as a teacher, whether the world notices or not, is a joyful experience. As I prepare for the birth of my first great grandchild, I am expectant about new creation. It’s not a tired world, but a vibrant one. I love the old, simple things! And I relish the new expressions!

