recorder instrument notes

Marvin has used the terms "double recorder" and the categorization-agnostic flauto doppio (double flute) to describe the Oxford instrument. Rather, it is the basis for a much more complex fingering system, which is still being added to today. Loulié is unclear on why one would need two echo flutes to play strongly and weakly, and on why it is that echo flutes differ. Because both hands are typically engaged in holding the recorder or covering the finger holes, the covering of the bell is normally achieved by bringing the end of the recorder in contact with the leg or knee, typically achieved through a combination of bending of the torso and/or raising of the knee. In this capacity, the tongue has two basic functions: to control the start of the note (the attack) and the end, or the length of the note (legato, staccato). Of the twelve marked for both, seven use chiavi naturali, or low-clefs typically used for recorders, while the others use the chiavette clefs used in the motets marked for flutes. The recorder is a musical instrument that is a type of flute.It is shaped like a tube with one end bigger than the other end. The player is able to control the speed and turbulence of the airstream using the diaphragm and vocal tract. Introduction to the Recorder (3 Exercises) Au Clair de la Lune for Recorder Solo (Three Note Song) Transliterations of common articulation patterns include "du du du du" (using the tip of the tongue, "single tonguing") "du gu du gu," (alternating between the tip and the back of the tongue, "double tonguing") and "du g'll du g'll" (articulation with the tip and the sides of the tongue, "double tonguing"). For people who’ve never played any wind instrument before, they may struggle to get the mind working on air, tongue, finger, rhythm, reading, and etc all at the same time. His fingering chart is notable for two reasons, first for describing fingerings with the 15th produced as a variant on the 14th, and for using the third finger of the lower hand as a buttress finger, although only for three notes in the lower octave. Purcell, J. S. Bach, Telemann, and Vivaldi used the recorder to suggest shepherds and imitate birds in their music.[83]. It is possible that Grece worked in the Rafi workshop, or was a member of the Rafi family. Bressan's contemporary, Thomas Stanesby, was born in Derbyshire but became an instrument maker in London. The pipes have an inverted conical "choke" bore (see Renaissance structure). During the baroque period, the recorder was traditionally associated with pastoral scenes, miraculous events, funerals, marriages, and amorous scenes. Blow into the mouthpiece to let the air produce a tone. The recorder is supported by the lips, which loosely seal around the beak of the instrument, the thumb of the lower hand, and, depending on the note fingered, by the other fingers and the upper thumb. Tarasov reports that the English flageolets of the late 18th century had six finger holes and no thumb hole, and later regained the thumb hole seventh finger hole (see above, right). Especially notable is Fred Morgan's much copied "Ganassi" model, based loosely on an instrument in the Vienna Kunsthistorisches museum (inventory number SAM 135), was designed to use the fingerings for the highest notes in Ganassi's tables in Fontegara. From the 15th century onwards, paintings show upper-class men and women playing recorder, and Virdung's didactic treatise Musica getutscht (1511), the first of its kind, was aimed at the amateur (see also Documentary evidence). There is a lot of music written for recorder but not all of it includes the recorder songs with letter notes. Until the mid 18th century, musical scores written in Italian refer to the instrument as flauto, whereas the transverse instrument was called flauto traverso. Virtually all recorders manufactured today claim ascendancy to an antique model and most makers active today can trace their trade directly to one of these pioneering makers. Instruments marked "HIER S•" or "HIE•S" are in stacked fifths from great bass in F2 to soprano in E5. A significant amount of music was written for the flageolet in the 19th century, such as the etudes of Narcisse Bousquet although much of it was directed at amateurs. A second, structurally different instrument ("Göttingen recorder") was discovered in 1987 in an archaeological excavation of the latrine of a medieval house in Göttingen, Germany. Partridge indicates that the use of the instrument by jongleurs led to its association with the verb: recorder the minstrel's action, a "recorder" the minstrel's tool. Compared to other instruments, the recorder is relatively easy to play, making it a great first instrument for kids or novice musicians. Many reasons supporting the conventional view that the recorder declined have been proposed. Since the modern revival of the recorder, plastics have been used in the mass manufacture of recorders, as well as by a few individual makers. [57] Many of these instruments are pitched around A = 440 Hz or A = 466 Hz, although pitch varied regionally and between consorts. The unique combination of covered and uncovered holes produces specific notes. Remember that the notes on the treble clef use the letters FACE for the spaces and the phrase, "Every Good Boy Does Fine" for the lines. As in the recorders of the Middle Ages, the etiology of these changes remains uncertain, development was regional and multiple types of recorder existed simultaneously. The recorder is first documented in Europe in the Middle Ages, and continued to enjoy wide popularity in the Renaissance and Baroque periods, but was little used in the Classical and Romantic periods. [15] Until at least 1765, some writers still used "flute" to mean recorder.[5]. Fontegara can be broadly divided into two parts: the first concerns the technique of playing the recorder, the second demonstrated divisions (regole, passagi, ornaments), some of great complexity, which the player may use to ornament a melody or, literally, "divide" it into smaller notes. Marissen argues that Bach was not as consistent as Power asserts, and that Bach would have almost certainly had access to only altos in F. He corroborates this with examinations of pitch standards and notation in Bach's cantatas, in which the recorder parts are sometimes written as transposing instruments to play with organs that sounded as much as a minor third above written pitch. The reverse is possible, decreasing breath pressure and gradually lifting fingers. It's the placement of the note on those lines or spaces that tells you what note to play and how long to play it. He makes a distinction between solo playing and ensemble playing, noting that what he has said is for solo players, and that when playing with others, it is most important to match them. The pitch of these recorders is often generally grouped around A = 466 Hz, however little pitch standardization existed in the period. The technique of inhalation and exhalation for the recorder differs from that of many other wind instruments in that the recorder requires very little air pressure to produce a sound, unlike reed or brasswind instruments. In recorders, as in all woodwind instruments, the air column inside the instrument behaves like a vibrating string, to use a musical analogy, and has multiple modes of vibration. Some recorder makers produce instruments at pitches other than the three standard pitches above, and recorders with interchangeable bodies at different pitches.[45][46]. In normal playing position, the recorder is held with both hands, covering the fingerholes or depressing the keys with the pads of the fingers: four fingers on the lower hand, and the index, middle and ring fingers and thumb on the upper hand. These instruments share similarities with the six holed flageolet, which used three fingers on each hand and had no thumb hole. Musica getutscht (1511), and Martin Agricola's (1486–1556) similar Musica instrumentalis deudsch (1529), published in Basel and Saxony respectively. The first medieval recorder discovered was a fruitwood instrument ("Dordrecht recorder") excavated in 1940 from the moat surrounding the castle Huis te Merwede ("House on the Merwede") near the town of Dordrecht in the Netherlands. [16] Consorts of recorders are often referred to using the terminology of organ registers: 8′ (8 foot) pitch referring to a consort sounding as written, 4′ pitch a consort sounding an octave above written, and 16′ a consort sounding an octave below written. In the latter half of the 20th century, historically informed performance practice was on the rise and recorder makers increasingly sought to imitate the sound and character of antiques. The other pitches are harmonics, or overtones. Generally speaking, faster air in the windway produces a higher pitch. David Lasocki, "Recorder", §I. Nonetheless, the Dolmetsch models were innovative for their time and proved influential, particularly in standardizing the English fingering system now standard for modern baroque-style instruments and doubled 6th and 7th holes, which are rare on antique instruments. Generally speaking, the partial opening of covered fingerholes raises the pitch of the sounding note while the partial closure of open fingerholes lowers the pitch. The alto in F4 is the standard recorder of the Baroque, although there is a small repertoire written for other sizes. This type of recorder is described by Praetorius in De Organographia (1619). [84], Two instruments are conventionally accepted today for the performance of these concertos, the sopranino recorder, notated like an alto but sounding an octave higher, and the soprano recorder, following the instruction to transpose the parts down by a fourth. Buy or hire musical Instruments from the woodwind and brass musical instrument specialists. Additionally, he proposed cutting the recorder between the beak and the first finger hole to allow for a kind of tuning slide to raise or lower its pitch, similar to the Baroque practice of adjusting a recorder's pitch by "pulling out" the top joint of the recorder. Recorders are also often referred to by their lowest sounding note: "recorder in F" refers to a recorder with lowest note F, in any octave. Acoustically, its tone is relatively pure and, when the edge is positioned in the center of the More importantly, the intonation is good, the instrument responds evenly from the lowest to the highest notes. In normal play, articulated attacks should align with the proper fingering, even in legato passages or in difficult finger transitions and the fingers move in the brief silence between the notes (silence d'articulation) created by the stoppage of the air by the tongue. Finally, recorders with a downward extension of a semitone are becoming available; such instruments can play a full three octaves in tune.[39]. Practice playing your recorder daily. In other words, the sound is two octaves lower than that of a soprano recorder. John Mansfield Thomson, Anthony Rowland-Jones (editors): Jacqueline Sorel: Renaissance Recorders after Ganassi: Jacqueline Sorel, Baroque Alto Recorder after Stanesby, Sr, Waitzman, Daniel: "The Decline of the Recorder in the 18th Century". The instrument has tenons on both ends of the instrument, suggesting the presence of now lost ferrules or turnings. [27][28][29][30][31][32] Relatively fewer varieties of wood are used to make recorder blocks, which are often made of red cedar, chosen because of its rot resistance, ability to absorb water, and low expansion when wet. Although the great bass produces sound one octave lower than that of a tenor recorder, the fingering is essentially the same for both instruments. [52] Recorders are distinguished from other duct flutes primarily by the thumb hole, which is used as an octaving vent, and the presence of seven finger holes, although classification of early instruments has proved controversial. According to Virdung, the configurations F–C–C–G or F–C–G–G should be used for four-part music, depending on the range of the bass part. For example, at the same air speed the fingering 0123 5 sounds higher than 01234 but lower than 0123. Instruments with a single bend are known as "knick" or bent-neck recorders. Two recorders marked "C.RAFI" were acquired by the Accademia Filarmonica, Bologna in 1546, where they remain today. For anyone with any wind instrument experience of any kind, the recorder is a walk in the park. Thus, at the same air pressure, the fingering 01235 produces a pitch between 0123 and 01234. 94. F3–C4–C4–G4, or play six-part music by doubling the upper size and tripling the middle size, e.g. Some fonts show miniature glyphs of complete recorder fingering charts in TrueType format. Knowledge of this fact and the recorder’s individual tonal differences over its full range will help recorders play in tune with other instruments by knowing which notes will need slightly more or less air to stay in tune. However, it takes time to master like any other instrument. The recorder songs may be downloaded absolutely free by anyone. Unusually, the finger holes taper conically outwards, the opposite of the undercutting found in Baroque recorders. Michael Marissen reads the repertoire differently, demonstrating that in other recorder parts, Bach used both the low F4 and F#6, as well as higher notes. Musical notation for the recorder is the same as it is for any instrument. airjet, odd harmonics predominate in its sound (when the edge is decidedly off-center, an even distribution of harmonics occurs). A forked fingering is a fingering in which an open hole has covered holes below it: fingerings for which the uncovering of the holes is not sequential. It's the placement of the note on those lines or spaces that tells you what note to play and how long to play it. The recorders' internal and external proportions vary, but the bore is generally reverse conical (i.e. The attack of the note is governed by such factors as the pressure buildup behind the tongue and shape of the articulant, while the length of the note governed by the stoppage of the air by the tongue. "The Recorder 1800–1905". In the 1820s a csakan "in the pleasing shape of an oboe" was introduced in a "simple" form with a single key and a "complex" form with up to twelve keys like those found on contemporaneous flutes. [87] This work is also notable for being perhaps the only significant surviving historical solo work for bass recorder. Although the instrument's pipes have thumb holes, the lack of organological precedent makes classification of the instrument difficult. The fingering 0123456 sounds at a higher pitch because the seventh hole and the bell both release air, creating a low pressure node at the seventh hole. Some of the earliest music must have been vocal repertory. In the second movement, breaking of beaming in the fiauto parts, markings of f and p, the fermata over the final double bar of the first movement, and the 21 bars of rest at the beginning of the third have led some musicologists to argue that Bach intended the use of "echo flutes" distinct from normal recorders in the second movement in particular. [40] German fingering became popular in Europe, especially Germany, in the 1930s, but rapidly became obsolete in the 1950s as people began to treat the recorder more seriously, and the limitations of German fingering became more widely appreciated. Controversy aside, there is little question that these instruments are at least precursors to later instruments that are indisputably recorders. Until about 1695, the names "recorder" and "flute" overlapped, but from 1673 to the late 1720s in England, the word "flute" always meant recorder. Additionally, some collections such as those of Pierre Attaingnant and Anthony Holborne, indicate that their instrumental music was suitable for recorder consorts. Marissen has demonstrated that the f and p markings probably indicated tutti and solo sections rather than loud and soft ones. The range of a modern "baroque" model recorder is usually considered two octaves and a tone. The air stream is affected by the shaping of the surfaces in the head of the recorder (the "voicing"), and the way the player blows air into the windway. 4.0 out of 5 stars 38. [79] Poet John Milton also referenced the recorder in his most famous work, the epic poem Paradise Lost published in 1667, in which the recently fallen angels in Hell "move / in perfect phalanx to the Dorian mood / of flutes and soft recorders," recalling both the affect of the Dorian mode as the mode of calling to action, and the use of flutes by the Spartans of ancient Greece, although the specification of the recorder is anachronistic in this context.[80][81]. Like Agricola and Virdung, Ganassi takes for granted that recorders should be played in groups of four, and come in three sizes: F3, C4 and G4. [5][14] The reason we know this instrument as the recorder and not one of the other instruments played by the jongleurs is uncertain. The air stream alternately travels above and below the labium, exciting standing waves in the bore of the recorder, and producing sound waves that emanate away from the window. The modification and renaming of recorders in the 18th century in order to prolong their use, and the uncertainty of the extent of the recorder's use the late 18th and early 19th centuries have fueled these debates. On the continent his efforts were preceded by those of musicians at the Brussels Conservatoire (where Dolmetsch received his training), and by the German Bogenhauser Künstlerkapelle. Practically any consonant that may produced with the tongue, mouth, and throat may be used to articulate on the recorder. The earliest references are in John Lydgate's Temple of Glas (c.1430): These lytylle herdegromys Floutyn al the longe day..In here smale recorderys, In floutys. In various regions, contexts, and time periods, pitch standards have varied from A=~392 Hz to A=~520 Hz. Those bell-keys extend easily the range of the instrument to more than three octaves. A significant question in this debate is which, if any, duct flutes of this period are recorders or successors to recorders. The earliest depictions of the recorder are probably in "The Mocking of Christ" from the monastery church of St George in Staro Nagoričano near Kumanovo, Macedonia (the painting of the church began in 1315) in which a man plays a cylindrical recorder; and the center panel of the "Virgin and Child" attributed to Pedro (Pere) Serra (c. 1390), painted for the church of S. Clara, Tortosa, now in the Museu Nacional d'Art de Catalunya, Barcelona, in which a group of angels play musical instruments around the Virgin Mary, one of them playing a cylindrical recorder. Today, makers maintaining individual workshops include Ammann, Blezinger, Bolton, Boudreau, Breukink, Brown, Coomber, Cranmore, de Paolis, Ehlert, Grinter (dead), Marvin (dead), Meyer, Musch, Netsch, Prescott, Rohmer, Takeyama, von Huene, and Wenner. Purchase a fingering chart in most sheet music stores or find one online. It uses 3 notes, is very repetitive, and is well-known. Researchers have long debated why this change occurred, and to what extent the recorder remained use in the late 18th century, and later the 19th century. See the table above for "English" fingerings for the standard range. In others, flutes of the same length have differing hand positions. The concertino group of Bach's fourth Brandenburg Concerto in G major, BWV 1049, consists of a violono principale, and due fiauti d'echo, with ripieno strings. Keys are sometimes also used on smaller recorders to allow for comfortable hand stretch, and acoustically improved hole placement and size. [4][3], The instrument has been known by its modern English name at least since the 14th century. The player must coordinate fingers and tongue to align articulations with finger movements. This usage is not totally consistent. The evolution of the Renaissance recorder into the Baroque instrument is generally attributed to the Hotteterre family, in France. csákány "pickaxe"), also known by the recorder's old french name flute douce, was a duct flute in the shape of a walking stick or oboe popular in Vienna from about 1800 to the 1840s. It is the most prominent duct flute in the western classical tradition.[1]. English flageolets that may qualify as recorders are of two types: those early instruments, called "English flageolets," which were actually recorders, and 19th century instruments with seven finger holes and a thumb hole. The eventual success of the recorder in the modern era is often attributed to Arnold Dolmetsch. [2], The sound of the recorder is often described as clear and sweet,[3] and has historically been associated with birds and shepherds. In all aspects, Ganassi emphasizes the importance of imitating the human voice, declaring that "the aim of the recorder player is to imitate as closely as possible all the capabilities of the human voice", maintaining that the recorder is indeed able to do this. If you love our collection of sheet music … Instrument. Often, the recorder is the instrument of choice for beginners – for several reasons: on the one hand, it is incredibly easy to learn, on the other hand it helps to quickly learn … [3], At the turn of the 17th century, playwright William Shakespeare famously referenced the recorder in his most substantial play, "The Tragedy of Hamlet, Prince of Denmark," creating an extended metaphor between manipulation and playing a musical instrument. The first suggestion was the use of the one keyed piccolo, or another small transverse flute, however such instruments had fallen out of use in Venice by the generally accepted time of composition of these concertos in the 1720s, and this opinion is no longer considered well supported. They are found in almost every musical tradition around the world. In the early 20th century, Peter Harlan developed a recorder with apparently simpler fingering, called German fingering. Forked fingerings allow recorder players to obtain fine gradations in pitch and timbre. From around 1803, when the London instrument maker William Bainbridge obtained a number of patents for improvements to the English flageolet, instruments were often referred as "improved" or "patent" flageolets with little reference to how they actually differed from their predecessors. )[6] and in Lydgate's Fall of Princes (c. 1431–1438): Pan, god off Kynde, with his pipes seuene, / Off recorderis fond first the melodies. Most wind bands consisted of players playing sackbutts, shawms, and other loud instruments doubling on recorder. It is fruitwood in one piece with turnings, measuring about 256 mm (10.1 in) long. For the music classroom, homeschooling, public performance, or just for fun. Patterns such as these have been used since at least the time of Ganassi (1535). Mouth and throat shapes are roughly analogous to vowels. [101] The firm Mollenhauer, currently headed by Bernhard Mollenhauer, can trace its origins to historical instrument makers.[102]. [5], By the 15th century, the name had appeared in English literature. As a result, it was frequently the performers' responsibility to read parts not specifically intended for the instrument and to choose appropriate instruments. Its form is usually an open-ended hollow drum which resonates upon being struck. Flageolets were generally small flutes, however their lowest note varies. My collection ranges from easy to hard. In this period, the instrument had six finger holes and single thumb hole, and had as many as six keys. But anyone can blow airinto an instrument - the skill is learning to make notes with those magic fingers! [69] (see also Renaissance structure), Aurelio Virgiliano's "Il dolcimelo" (c. 1600) presents ricercars intended for or playable on the recorder, a description of other musical instruments, and a fingering chart for a recorder in G4 similar to Jambe de Fer's.[70]. Much of the vocal music of the 15th, 16th and 17th centuries can be played on recorder consorts, and as illustrated in treatises from Virdung to Praetorius, the choice appropriate instruments and transpositions to play vocal music was common practice in the Renaissance. The performing practice of the recorder in its earliest history is not well documented, owing to the lack of surviving records from the time. by Adrian Brown, which are dispersed among various museums. The first significant explanation for the recorder's decline was proposed by Waitzman (1967),[89] who proposed six reasons: In the Baroque, the majority of professional recorder players were primarily oboists or string players. The pitches A=415 Hz and A=466 Hz, a semitone lower and a semitone higher than A=440 Hz respectively, were chosen because they may be used with harpsichords or chamber organs that transpose up or down a semitone from A=440. He posits that Bach avoided F#6 in BWV 1049, at the cost of inferior counterpoint, reinstating them as E6 in BWV 1057. As conventions and instruments vary, especially for larger and more uncommon instruments, it is often practical to state the recorder's lowest note along with its name to avoid confusion. [36], Some newer designs of recorder are now being produced. follows the exact size configuration suggested by Praetorius: stacked fifths up from the basset in F3, and down a fifth then a fourth to bass in B♭2 and great bass in F2. Dart did, however, bring to light numerous newspaper references to Paisible's performance on an "echo flute" between 1713 and 1718. [64] Agricola adds that graces (Mordanten), which make the melody subtil, must be learned from a professional (Pfeiffer), and that the manner of ornamentation (Coloratur) of the organist is best of all. Study a recorder fingering chart to familiarize yourself with the notes each finger combination produces. Isn’t cool? The pitch of the Rafi/Grece instruments is around A = 440 Hz. In practice, however, the uncovering of the holes is not strictly sequential, and the half covering or uncovering of holes is an essential part of recorder technique. Because there is sparse documentary evidence from the earliest history of the instrument, such questions may never be resolved. Groups of different sized instruments help to compensate for the limited note range of the individual instruments. 1465?) // Leaf Group Lifestyle. by Ben Newman | Dec 21, 2019. For this reason, the number of professional exponents of the recorder was smaller than that of other woodwinds. Groups of recorders played together are referred to as "consorts". Recorders are traditionally constructed from wood and ivory, while most recorders made in recent years are constructed from molded plastic. [24][25] The term flute du quart, or fourth flute (B♭4), was used by Charles Dieupart, although curiously he treated it as a transposing instrument in relation to the soprano rather than the alto.

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