Introduction
I shall divide this seminar into two parts and leave time at the end for questions. In the first part,
I will play recordings of two Australian pieces for instruments and tape [i.e., fixed media], and in
the second part we shall examine several recorder pieces particularly the special playing-
techniques they use. I shall end the seminar by playing a recording of one of my own
compositions. Also, you will find a lot of printed information handed out as part of this seminar.
This is all concerned with special recorder-playing techniques, and can be kept for perusal at
your leisure; basic information is also included. There are also sheets that relate directly to
recorder pieces presented during the seminar.
PART 1
Let me begin by playing to you a recording of my own recent piece called Arcturus Timespace
(composed between December 1986 and May 1987). This piece is a response to my interest in
astronomy and astrophysics. It attempts through its static nature to evoke the vastness and
timelessness of infinite space. Even the structure of the piece relates to this idea, being cyclic,
like a huge cosmic clockwork! The scoring is quite unusual: though the soloist is a mandolinist,
he plays a number of other instruments. Here is the instrumental set-up:
There is also a stereo tape [fixed media] part. This was generated by two Yamaha CX5M music
~1~
computers, which use Frequency Modulation (FM) sound-synthesis techniques. The sounds are
quite percussive, and are intended to mix with and extend the live sound.
This piece has a visual element, as I also use slide-projection and background lighting. The
slides consist of various astronomical objects. In many ways, the piece is very Asian. The
instrumental sounds themselves often invoke the Japanese biwa, kt, rin and dbachi (these
last two being Japanese temple bells). Also, the tam-tam is used in a structural manner
deliberately like the largest gong in Indonesian gamelan music [as a colotomic device]. Some of
these influences were conscious, others subconscious: I noticed how biwa- and kt-like the
mandolin part was only when the piece was nearly finished! The instrumental array and action
of the soloist is also very suggestive of Buddhist ritual. Before I play a recording of the piece, I
would briefly like to show you some notations the piece employs. These may be useful to you:
The next piece I wish to play for you is entitled For Marimba and Tape (composed in 1982). Its
composer is Martin Wesley-Smith (b.1945). He teaches electronic music and composition at the
New South Wales [now Sydney] Conservatorium of Music in Sydney, and his main interest is in
(often highly political) audio-visual pieces using electronic music and computer-controlled slide
projections. This piece exists in several versions, for different solo instruments plus tape. I am
presently working on a version of this piece for amplified bass recorder and tape. The tape part
was generated by a Fairlight CMI (Computer Music Instrument), a device which was designed,
developed, and built in Sydney, Australia. Some of the sounds on the tape are synthesized,
while others come from digital samples of a real marimba.
PART 2
Introduction
We have now arrived at the second part of the seminar, wherein we shall examine the modern
playing-techniques used by several recorder compositions. Please have ready the sheets
containing the technical data for these pieces that I have given you. I might point out at this
stage that you will find basic technical information relating to the recorder, and often more
detailed discussion of advanced techniques in the other printed materials [these being: Marilyn
Carlson & Richard Jacoby: Intonation, American Recorder, Vol.13 No.2, May 1972, pp.43
45; Bob Margolis (with hand-written annotations by Ian Shanahan): A Composers Guide to the
Recorder, American Recorder, Vol.16 No.4, February 1976, pp.113122]. Here, though, we
are discussing only so-called advanced, Avant-Garde techniques in a rather cursory fashion.
Depending upon time considerations, the techniques may only be demonstrated without further
explanation, as you have explanatory information already written down. But at least you will be
able to hear the sounds! I would also like to add that if you intend to compose a recorder piece
using these techniques, you MUST collaborate with a player. No amount of technical information
takes the place of a live performer: remember, you are writing for a recorder-player (and not, in
a sense, the recorder), so you should exploit the players strengths and be aware of their
weaknesses and character or temperament. Furthermore, all players are different: what proves
possible for one may be impossible for another. After the introduction and examination of each
piece, I shall then perform it, so that you can hear the techniques with a musical context.
The first piece is by May Howlett, a Sydney-based composer and committee member of the
Fellowship of Australian Composers. Her little composition is called Shan-Ti, and it is scored for
solo alto recorder. It was written just last month for me to present at the Asian Composers
Forum, so that todays performance is actually a world premire! The composer has tried to
evoke a deliberately primitive atmosphere. Lets have a look at it:
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~5~
My next piece for you is called Meditation (composed in 1976) by Ros Bandt, another lady
composer, from Melbourne, Australia. She is also a recorder-player. Ros is very interested in
music, sound-sculptures, and meditation so it is only natural that she is fascinated by the
Japanese shakuhachi. In fact, this piece is scored for shakuhachi, flute, or alto recorder.
However, I play the piece on the tenor recorder, because it seems to evoke the shakuhachi
sound better than the alto-sized recorder. The score, as provided by the composer, is actually
very simple and sparse (probably in order to encourage improvisation). I have elaborated it and
made it more intricate by imposing many contemporary recorder-playing techniques (which I
think may also be common to the shakuhachi). Now to the techniques themselves:
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My third offering (also for solo tenor recorder composed in 1986) is called The Sign of the
Four, a rather curious title, originating with Sir Arthur Conan Doyle. It refers to a Sherlock
Holmes story which the piece follows in a kind of musical code. It uses many of the modern
techniques: too many, in fact. Unfortunately, I find the piece to be a little boring. I am presenting
to you a cassette recording of the piece that I made earlier this year under the direction of its
composer. I hope you find it interesting, at least for didactic reasons. The composer of The Sign
of the Four is Jana Skarecky, a Canadian composer who was undertaking postgraduate
studies at the University of Sydney but is now living back in Canada. Now we shall look at her
piece:
(See the accompanying sheets; play the cassette recording ca.11 minutes)
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We now have another world premire, a piece for bass recorder and live electronics. I wont go
into details now about the electronic set-up, as that will be clear enough when you hear the
piece. The sound is sometimes modified by a Digital-Delay Unit (DDL). The name of the piece is
Pipistrelli gialli, Italian for yellow bats another weird title. The sounds the piece makes
evoke the fluttering and chirping of bats, as well as their eeriness very well, in my opinion. It was
composed by Benjamin Thorn, a Sydney-based composer and recorder-player. You will hear
the extensive use the piece makes of multiphonics, sputato articulation and overblowing a
characteristic of this composers style. I shall examine this piece only briefly before performing
it:
I will diverge a little from the pattern now and play a cassette tape recording of a brilliant
recorder piece for you, without looking at it in detail. It is called Research 12/84 Dream
~ 12 ~
(composed in 1985) for solo tenor recorder by the Canadian composer and recorder-player
Peter Hannan, who plays the piece here. Briefly, it is an amazing study in sputato articulation
and polyphony generated by multiphonics. I hope you enjoy it as much as I do:
(See the accompanying sheets; play the cassette recording ca.10 minutes)
My last recorder piece for you is titled Stopping by Woods on a Snowy Evening (composed in
1985), again for solo tenor recorder. The pieces name is taken from a poem of the same name
by the American poet Robert Frost. Its composer is Neil Currie, also from Sydney. He is an
expatriate Canadian studying at the University of Sydney where he wrote the piece for me. This
composition uses a multitude of recent playing techniques which we shall now examine:
~ 13 ~
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~ 16 ~
Without further ado, I would like to conclude this seminar by playing a tape recording of my own
composition Echoes/Fantasies, for bass clarinet, vibraphone and tubular bells. It was written in
1984. I wont say any more about it now, except to observe that it is very Australian yet also
very Asian and therefore eminently suits the purpose of this forum. [END]
(Programme notes for Echoes/Fantasies are obtainable from Mr Miyagi, and I can supply an
analysis of the piece upon request.)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~ 17 ~
AMl'\c.\:i1"l R~~~~r: Vo\~ 1'2> rqc+ '1. ,MC\y 1'172.'l~ftt'-'t-S-.
INTONATION
By MARILYN CARLSON and RICI-IARD JACOBY
R ecorders can be pla yed in tune! As with all Y wind Ex ... plr No. m. (",Til.. I "",Ioel)' pl'yad.)
in strument, it is the task of the performer to produce
good intonation , \Vhile all recorders have intonation
$f~ J J J IJ j Id J j J. 1
problem s, such problems are fewer and less significant You might select F as the startillg Ilote alld pl()'(:d
with it good quality instrument. It is our feeling that with the melody as in Example IV.
most recorder pla yers can grcatl y imj)rove their into
nation with regular, directed practice. The basic neces Eumple No. Ill. (n yOIl .... )1 h"e vIIU4liucl.)
EUMple lX..
..
let .0 .0 .0 .0
0 0 0 0
0
0
0
0
0
O'
00
00 00 00
00 00 00
Added fin~ers closest to
sic . fin~erin, =
lowest pitch '.
/ .
. ..-"
Should you have a Ilote that you feel needs to be These prolJlellls can usuall y be (orrected wilh ;lIlclcd
ra ised h y r efi ngering, we suggest you consult a per- breath pressure, shading, or thumbing. If :l recorder
for mer/ teacher. The infrequency and the individual has notes that are too lIat or sharp to he pi:I y('(1 ill
nature of this problem make it impractical for us to tune, then, within reasonable limits, appropri;lll' tOile
pursue in this article. holes can be altered.
Do not consider your se lections to be "alternate fin- By adding glue (to decrc:lse the sizc of Ihc If ) lI e
gerings." lie pruden t in selecting these fingerings or you hole), the pitch is lowered; by increasing the sill' "I
Illa y create technical problems. the LOne hole (through sanding), the pitch is );Iis("d.
For reasons of facility and ornamentation, it is often \ ,Ve suggest you try this on ly Oil ;1Il illstnllliCll1 y llil
n ecessa ry to lise alternates in place of your basic fin would discard. DO NOT ATTEM PT TO ,\l.TlIZ .\
gerings. Alternate fingerings often ;ne included in GOOD QUALITY INSTRUi\IENT WJTIIOl l I'
Illethod books as well as in trill charts. These finger- EXPERT GUIDANCE.
ings are not as well in tune and have an inferior tone The first step is to determine if the pitch ill 'llIcs,
quality. However, it is necessary at times to sacrifice tion is too fiat or too sharp ancl . whether it CIIl lie
good intonation and tone quality in order to ade- altered through use of pLtying technics. The extf'111 of
quatel y perform a passage. Do not rel y on alternates the problem is best established with the usc of :1 stro
,,hen more practi ce time would enable you to lise your botuner. The principle is to alter ;Ill open tOile hole
basic fingerings . - usually immedi ately below the last covered hoic.
;< 0_
Modification of Breath Pressure
Varying the breath pressure alters pitch. Increasing
raises the pitch ; decreasing will lower the pitch. 'When
-.-
_0
~
0
08
00
rJ./or
0
00
00
--t> 0
-0 0
00
00
=;0-
Instruments cannot be built perfectly in tune. ''''hile Note: This article is based 011 V llt: of a .Ieri('s of lcr-
all recorders have intonation problems, a good qual- tures covering various technics of playing, i11cluded
ity instrument has fewer and less significant problems. by the authors in their workshops.
45
AMer~Gql) (2.UtH,Jer:
VO\' \ E> f~r-'" tt ) f\UJ .\C)7 b
. ff \\'? -l~'L
,
.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
::
across registers invariably produce a
"click" sound. It is easier to slur from
er a..n.ol a higher to a lower register than vice
versa. While crossing the . various '
. register breaks presents difficulties of
coordination for ' beginners, ' good
players can make these .transitions
smoothly.
, Agility
Bass: A very quiet instrument, its normal techniques, some of which the lowest tonesis 'that ()f.a Whimper I"
fullest tone is in its fundamental have come to be associated with (Notate as shown.r ',." .,'~ ", ,.;, Y",
register, high notes are breathy-an avante-garde music. For each of the , Quarter Tones [see;': Chart; 4r ar.e
" , . .', ~ . ,.' ". '.' :. ~. ,.. ,'I-. ' .~
asset or ' liability, depending upon following techniques it is essential to easier to produce ' than '. on" any :;bther
context. Direct-blow basses are pref- provide the score both with fingering woodwind ' owing to,'" the", 'rec<>rderi s
erable to basses equipped with a and descriptive indications. Most of lack of keys. ' Quarte~ ~, tones " are
crook [bocal], and Renaissance-de- the fingerings contained in the charts exceedingly difficultwithi Il the lower
sign basses are considerably richer- are unknown to the majority of minor third of the :compass"and' :a re
sounding than Baroque-design basses. recorderists; indeed, some are pre- for this reason not ' inCluded , ,
' iri ,:' th~
- -
Do not take inexperienced players sen ted here for the first time. Foll~w- fingering chart:' " Within"" ~his;; region,:.3
; above the second c. Note that the ing are all the extranormal techniques half-holing of ' half holes::'~ nd shaaed :i:
' " ..... ~ .o '
~.
h I t
(F our quar t er tones = one woe )
one. ~ ~ t +l"+ porOSIty of .clothIng may '. . allow
i
leak. For thIS reason ~t IS a good Idea
aIr
to
, J i
OIBi531ll-tt 0I23HlJSbaJroBRJII.J I (However, the 'bell trill 'at the end\ )(
Tui St. George Tucker's' Sonat,l"(edi~{f
tion previously: cited) is pl~ye9." with;
&f
' ,~~ c'' " } ;. .
I r I#r
, , < .,
012356; 3
,
1r IQI235 f Q I2frSlii1l 14" I
the palm of the right hand, as only the '
, . . '
'bf Jtn~\
"
~
," ,
. ~ . . . _~. , J. ~
&f
bell is i~susefulness ' fn ,' permitting "
0123 8 \ r \'i
0 1345 \ tr ,l
0 13\ , ~ rapid movement between ;~~ extreme
pitches-movement ': whi~h . '\v~uf~f :
otherwise bequite 'awakwa!"d~ It is'for ;
this reason that Closed bell~firgermgs "
._' " " '1 , ,.r<' 'j'.~ I' jo
&~L'35(ji8i11 it \fipl3lOBelI If g
V ' "
pitches 'can be' ' prod~c~'d ,o)1ly,\:\.\tItHt
'II ," , ,',':.. ";';'
C1osed b e. ' " ' ' ' ' ., ",,;,. ~"~~;.~r"~"'(":~;""~
", '{i,;! ,,:il~:"t::,,:',:l,j
lI<.
0: >( . .,.~.\-, l";t '. " .,( .','! ~"., .~';~
,
Alternate Fingerings
gu r'3~4' ht; l\~ ,
-6-
J . . '
, over the closed ~elr~otes/terIII.iri~tirl~ ~!!
with a downward'j og at the end-of the':t(;
closed bell passage, mucll' in 'the sa'rrle,1;.
, AL TO RECORDER NOTATION rJ w- bfl \\ t5 " way as 8vafollowedby' a3 daslled line':
These fingerings yield the indicated pitches at normal or near-normal volume is used ~to indicate 'a;~p" ~s~'g'i1 tb ' beP~
levels. They are useful for producing variations of timbre; also normally used as '
trill fingerings. It is possible to slur back and forth between ' any alternate . played 'an ,', ocatve ': higher:;~f;:~':J\:ri'6 thiF '
fingering and its corresponding standard fingering. possible ' notat'ion, ,1 calligdlphiCalI}/':',
more difficult but : visuaIlyy,:'more
compelling,is to . enclose . ' '
'.~"all (lclosed ~
'. '.- ", . . f, "
bell notes 'within ,a"rectangular ooX:,e:"'1
This will serve to ' alert the 'p layer )to '.:
1t 1t",lt. , lower the recorder to close the' bell. , '
~(Q ~ ~12~~ r
54)31 I 23lF5&i'I "ij123lf1I I Finger Vibrato :is the"'(}sCillatiori 'of \
pitch between normal and s()mewh~a't'H
:~l'!d,.,ul'!~overing a conveniently locat- tra. The tenor recorder seems loudest in an extraordinary manner. Surely
e~:flowerhole in the manner of a trill. here. Curiously enough, fingering has otper effects are possible.
S J;prlsingly, this .is a Baroque tech- no effect on pitch(l) and the standard ' Playing More Than One Recorder
i~g'u..~ <:/,Whi~h ..had . been used to fingering of convenience is 0123. Only Simultaneously: Using only one hand
:."::sw~eten'!long , tones, . and . not a
'~~:' '.w~,,'l~ '. "
c'm odern'innovation.The
'.'
effect can be
.
force of breath pressure, position of a player can play on F instruments.the
, '
covering hand, and oddly enough bell notes c, d, e, f, f-sharp, ' g, octave c,
iJ;~;-',,!!:''';'''':'t
1"'-' -";:,; .. ' /--r .' :"'f. L.
eer.i~n? N,?t~t.e,: bY . the word finger- closure have effect on pitch. . and octave d, plus certain intermedi-
~~!.'p ". j';:''.'l" ;'~1':-_ ..,f"~V:' ~>:
. .' '"'_~i1-1.~,::; Ii,' ,;,~;lj"
Transition From ' Singing Outside ate tones. (For tones for r:: ~ instru
.'
V ;':''''ato ''''',i:'C;'' i ,~'.
"':" i "'"":,'" " ,'" .
~~/t ~:f!J~ ~ .'Y~:'~;: , (:~ :-j;\,~:~,:; ":\.. ::.~: /:"C"", :. :,'
l~0:~~t<)1y.thrnic Brea'th- Pressure
:~-;':t~l~r~'Jtr :.~!> J~~~_\,ch>:r ','....,' ~,.
'
' Vibrato: The Instrument To Playing may 'be ments transpose up a perfect fifth.)
'All' in'crease '; in breath pressure raises made directly, without break; fur- With one player playing one instru-
1:~~,""'l,j;;~~";'-':""'" ~;;;:\~'\'. :" :>.,>~':~':', ':'"
tllepitc~';ofaIlY! note by slightly more ther, the singing may cease the instant ment in each hand, any combinations
g:'" . ',; ":", . .
'~~"(;:'S~.~" ):i.~-'Y'\;"'< .:., ~'~
t!t~n. ,aquart~rJone, and ,a decrease in the mouth is closed over the mouth- of these notes can ' be " sout:ld~d
~.i-:r ',~::!f; ""(-:. .. ~/ "',I',t' ~"':,"'~'''''' "", .,' . ,'.', .
'piess4~e ,,Iowers' the :pitch, but by a piece or continue together with the together, but if one instrument oc-
~nia.I1er4egfee ~ The speed and rhyth- playing. Whatever vowel sounds are taves, the other u~ually , must. Since
.~ic'pattern: ~f these pitch fluctuations being sung before the instrument is .the ' player is tonguing two recorders
~~aY,.~e' i{otated (possibly by 'means of brought to the lips will diphthongize at once there will be a . perfect
~~'aII~'r1:tythmic ~ values superscribed) to the sound "00" as soon as the lip. .~/ synchronizatioJ1 of rhythms, . flutter
;~.Q~{'the'; depJh, indicated , (either by are closed around the mouthpiec~ tongue, vibrato, and, depending up-
~,din~mi,c Ill~rkings or by wavy-lined The diphthong will be formed starting on skill, trills. It is possible, . if
,vil;~~to" gr~phs) . .. '3 with "00" and sliding to the new physical limitations are kept in mind,
"'t;~Wi~4way .Vib;ato . is produced by vowel sound when the transition is to add a third recorder as a drone. ':
'ji~yiilg":{";,the , right " hand over the the reverse, from playing to singing. Prepared Recorder: We see much of
:W.i~q?i~*:- "" J~e sound 'is ' that of an . (Of course, if the vowel sung is "00" prepared pianos, harpsichords,and
extremely exaggera,t ed vibrato. As the there will be no new vowel sound or the like, but nothing, in my experi-
;~ighf h~nd is, thus occupied, only the . diphthong formed in tra~sition.)
.' "". "~', , .... "";""".~cF ",:' I . ,~
ence, of prepared recorders. The
left:~ h~nd is available to finger notes In general, whenever pitches are to easiest preparation is taping certain
(unless :. another performer is called be sung, they are so indicated on a holes shut; used in coni unction with
:" upon'toproduce thewiridway vibrato separate staff below, and joind to the playing more than one recorder
~l,~tt~~~'ihe :/m:ain"" performer plays the instrument's staff by a bracket. simultaneously there is a possible
"'~~tesr: '" ~'-: Parts of the Recorder may be expansion of pitches available. (The
',</" Cqvered Windway: , ,In the wind- played separately. The head joint most obvious holes to tape are 0123:
' ,\yay;vibr~to, : the han~ approaches the alone will produce slide-whistlelike the , fingers of the right hand then
. wi~dow or labium only so close as to sounds if a finger is inserted therein cover holes 4567 and the left hand
lower .the pitch. If the right hand is (closed windway and stopped bottom takes a second recorder played IInor-
I g~~tly 'cupped .over .the ,- window 'and are also possible). The bottom two mally." The recorder's close relative,
~'b~9ught?'steadily closer thereto, the sections m~y be played in the manner the pennywhistle, is particularly well
,' pit~h:,will gradually get progressively of a trumpet (or cornett) with results suited for this, having only six holes
, lower ~ until a point is reached where which may be comical. Or, using the and octaving by breath pressure
)"the: pit~h shiftssharply upwards to a bottom two sections with the bell . alone. I like the British-made Genera-
.s~ril1 "squeal. This is the ' piercing tightly closed, the mouth is' placed tion pennywhistle, which I believe
. sPllnd of the covered windway (gent- firmly around the top opening and all they call a flageolet, particularly the
ly, co.ver~d, .'for .if it is con:tpletely the holes are tightly covered-the net one in b-flat'. The American-made
. covered, ** the sound will become a result being an airtight seal. If, in this Flutophone , of charming tone al-
stifled, breathy squeal). However, manner, air is sucked inwards while though restricted to a compass 'of one
"properly controlled, covered wind- trilling with ' any ,one finger,an octave plus a major second, is also an
way can be an ear-splitting shriek, interrupted rushing-air sound is pro- interesting subject for this treatment.
equal to the power of a piccolo at the duced. If additionally the shape of the Both are quite inexpensive.)
mouth cavity is changed to conform A somewhat risky preparation for
* This part of the recorder is variously the recorder would involve drilling
referred to as window, lip, labium, or * *WARNING: Do not touch the extra holes to alter the temperament
knife edge-in any event it is the slot knife edge itself as it is subject to of the scale. A plastic recorder would
in the head joint from which air warping and splitting on wooden se'rve well as a guinea pig for those
emerges. recorders. who may wish to attempt this.
A sort of preparation is the Brit- Th~
key covers a small hole bored at for concert performance. (We tape
ish-made Dolmetsch Tone Projector, the base of the beak on the back of the the top of hole 3 shut to permit the
which may still be available. The recorder. When the hole is open, the production of 012, d for F instru-:-
projector is a plastic apparatus in a instrument goes sharp, reqUIrIng ments, a for C instruments.) A piece
wheelbarrowlike shape which fits o- lower breath pressure to bring pitch of paper put up the windway.will,also
ver the window of the recorder. I back to normal. Lower breath pres- mute the instrument and degrade the
have sizes to fit soprano and alto re- sure causes lower volume. ;tone. The paper is likely to become
corder. The tone projector lowers To mute the recorder, tape halfway ' both wet and stuck, however,' and the
pitch slightly allowing for greater shut holes 1234567. Tape the bottom probability of damaging both , the
breath pressures and higher volume half of holes 124567 shut, and the top , windway and the knife edge is too
levels. half of hole 3. This preparation may ' .,great to risk comfortably, so":" this
If it is volume you want, the be of use to those who wish to 'perilous preparation is recorrtm~~ded
{ - c
practice late hours without disturbing only for. a plastic instrUrrten~
recorder ,c an be electrified by adding a
,
: l::.",:, ' "
".,' .. ,'
contact microphone. This will require neighbors. Since not only tone and ' Tapped-hole. Tones: ';" By ! fing~ring
drilling a hole in the head joint. intonation are degraded but also it any : note within:,'the'>'ftindarrlental
If it is softness, an echo key can be
becomes difficult to find the holes register of the ;recorder' andsharply
installed. This is a closed-standing with the tape in the way, this tapping one hole, a hollow percu.ssive
key operated by the player's chin. preparation might not be a good idea sound will be produced. , (Tap the
finger on a hole ',that would :,norm.ally ,
CHART 6 be closed for the note' selected.) In a
'sense; this is the recorder's ' equi'val~nt ,:
Chords [Multi phonics] . of the violiri'sJ eft handpizzi;ca fp;; The
sound,' al though "picitlissiiho ; 7~p;djects
ALTO RECORDER NOTATION well, ' btit " production of the ,sound .
requires considerable 'Jorce ....~".?pe~d
" Illay ~.b,~ .''' s..9m,:~~1:t~~~.::}.,ip~p,~'ii~q!~,~.::art~ .
since ' articulatior{.~' of.t~:thtt~sounds is ;
being accomplished bY,thlfinger',: not'
the : tongue, :~'. a , , :m.odifie~,,;:.fihger;'~Jch;-:'
",S" '<:~ 'l~\'. k~' " ' y f ! . "/"'"
nique," Il1~, ~ fqj~,,~~~a~~~a}~~g(a~~ '~W ith '
. x's in place.QL,note, heads.i .;~~;:.-;-,~~~:r;,,:;:,l',!j/'-
: . , " .. . : . t . ' ( , , \ t \, '\0:' ~ !,;'(~.:;,,' " i , .1;:'
, Special . A rticulations:~,.:The
~,. ~, ~, \l~ '''--1~t.t, Y,._
~, t:,eco'r~ ;'
....;j:., ... ~'. ...... .:( ..... ::\ ...", :'\ . 01'.' ;':.' ",' )'
) ~
, , , ,I
't'.1. ". , :'-" :~ ' </.;"':''\1 ;:",Ir_. l:' ,4,..,': ... ,>1_, .... <..... 0-, ,1-~.. ' ..' ~' ,','
.
...
,
TJ
,
, rJ\:.I./1 -. ,
",--.
1JiC.
~A r.
."J"I ",.,. I
,..
"" ~ , I
,
\. ~ I..n. .. I I
1
~h-\t "' ~. nounced (voiceless) explosiv~ly'.~akes
. , ," , .... ;". .~'.... " I:~'" M.('. -.... '.~ :! r .~, :.
,
mouth partially . open ."and (. th'ef. '.,:, sus-
j' I ' .... " ,', '.' . " ~ r r ,~ . .... ' -';r..:f \~r .,J. 'I <~_.\
~ p~t~e,e.~:L~f,14,, :~?: (th~ ,~o-called Spanish pressure, which also means increased finger 02356 and slowlyclos~ the '
i :, :V):~~~l;rhe.il~.!,\~ol:1}ld tds ~,,~,one of equal volume. Tone quality is bound to bell-the pitch will in~tantiy cr~~k
;p,roporti,ons;of tone and rushing air. shift drastically. The bell may also be upwards. This is very strange indeed .
. ~N9,tate vaIlJhese clearly as regards shaded to lower certain notes, furi- But then, the charm of the ~ec~ider
"~~,~.~~'iii~kle ,;ariations. , ously though, the bell when ~~~ed<> \!~esE~a:!~yb!no ~\=~~~i~o~' 1"'"1 (0 \1.' 'r)&7)
')y~~mics ~ : ';', ,', " , ' " CHART 7 by ~\.f -<Ab:>\~ +h~ b~\\ ' '
;,'.}~r~"'t;//. I";,, :"' -,' ;,,' Closed-Bell Notes and Extraordinary Pitches
j:,~ j1'UnlesS' th~ special techniques of the
,underblow,n harmonics are used, the ALTO RECORDER NOTATION
;,re~o~d~r~.j~~" :'nqrmally ;,; :limited to, a Closed bell is useful in permitting rapid movement between extreme pitches .
:narrow dyn~mic range. AS'mentioned (see text) . Closed bell also provides notes outside the standard range. For higher
:, u~der.:th~' heading /'Rhythmic Breath notes than those listed here see text: "Covered Windway."
:' Pr~ss~r~ r:':'Vibrat6"':' an' increase ' in
br.~~fh~'i;~ess4~e',: wilI: "' besides increas-
-~
'. .... !t l!t.1. --- -'" "." :,,~, ..
irig <volume ' somewhat, cause the
;r~~o~d~r to'go sharp~ Thus, the use of
r:p,;yano : r r as';': dynamic levels is of ~ 1:
ps,Y,~IiI~gi~~I ,~alue only: the recor- 012345 Bill ~ I Z3 j b 7 BiJ~
" q~\ " ~a~I.1ot ; produce these volume cc,t")fo r <;(I\~<!.. ~~~ Q.r\~5 (soft:) u.sef",1 fOr oll,lt>trill
WJ e
Je.v~!~;without going flat or sharp. \'r\-:! :l
{:~lf!~~;;~~rnt1::~a:::t:;i~::~~ Wr0I235pfBe11 \ t' DJ238rJI '~1245 8dl I
tet is ",mp" to mf. The first two
'. .,overblow.nregisters
f.
offer ~ range of
from mp to (The dynamIC range of
:" the'fluteis greater.) Tones of the third
&t'f rnx q'!iZ :;:"tj:er
-- - - -
b
- - --
i rr
" //.fl,,r\-'1~It\'1'-1\1 v~1b\e -JI{t\'W\*~#)~"J.:e. i)
~ 113
~ -1~ ~ \~
5 Bill 1
-
,~:iri~:~::;:::s:;it::e:t~~~:t~: _
"same' dynarIlicrange. Notes above ~C 3~10e.\\)
&:iff;:;! 1;/234BiJl ,f;12358dll
0l')..31.\-~{;1 He,\\ (f;\--';\ff)Cf)]
. ,must be struck If to sound.
" ".If . true levels of pp * and ff . are
, wanted, special fingerings must be
'provided~ Chart 3 gives excellent pp
, fingerings. There is not yet a system
of ff fingerings: basically, flatter- than '
, than-normal fingerings are used (fre-
. quently coarsening tone). The quarter
tone chart 4 may be helpful In
Record, $3.00; Set of Score and prano in A and two Altos in ' O. ~ Tiet: Ton-That. Ai Van 2 (Epitaphe 2)
Record, $5.50. Mainz: B. Schott's Sohne, 1932. for Bass Recorder and : Harpsich,o rd:
:it Andriessen, Louis. Sweet for Alto Edition 3355405. Transposed version Pa~is: Societe des 'Editions Jobert, 44
Recorder. London: Schott & Co., for Soprano, Alto, and Tenor: Lon- Rue du Colisee. 75008 Paris . .1973.,
Ltd., 1972. The Modern Recorder don: Schott & Co., Ltd., 1952 . . approx. $5.75 .
Series No.2. RMS 1370. $2.50. Edition 10094a miniature score. (Re- Tucker, Tui St. George. Sonata. for ,'
Berio, Luciano. Gesti for Alto Recor- corded on E.M.I. SLS 5022) Solo Recorder and Romanza for Solo
der. London: Universal Edition, 1970. ~Linde, Hans-Martin. Music for a Bird Recorder. .Bro.o,klyn;'. NY: ," Anfor '
(Joseph Boonin, Inc., Music Publica- for Treble Recorder Solo. Mainz: B. Music Publishing, 1970. RCE No. ,14. ;"
tions, P.O. Box 2124, South Hacken- Schott's Sohne. Edition Schott 6278. $2.00 (Terminal , ~usic, ;166 ;W,. ,;,48 ;:~,;i
sack, NJ) approximately $2.30 (U .E. RMS 2050. (Recorded by the com- : St., NYC) "'. :':;';'~, ',.>~:"~:l:i;'r:,, ,:,~,~~~~';~\!.~~,;tI
15627) poser _on . E.M.I. Electrola/Odeon ~ Ve~ter '! t\1i~hael:,;'JC/fjq~'t o ;,: 1~~~~~i~~.:4
Britten, Benjamin. Scherzo for SATB lC065 28841) approx. $1.75 . acerbo: .Inst~uctl()~~ ' ~~d, ~~~~sl~~~,f5?rt~;
Recorder Consort. London: H(.'wkes~Miller, Edward. Song for R~co.rder or Players ' of " New ' ~~5o.t.de~'~~.,~~~!f~{~
& Sons, 1955. Edition RP 1, 65 c"nts. Flute. New York: McGinnis and Celle: Moeck !Verlag, . 1969 .. , ~dlhon ;
(Recorder on E.M.I. SLS 5022) Also Marx, 1964. (Recorded by Bernard MoeckNr.. 4000~ ~ ~,.'A~pr9xl~a~el~j
available in . Boosey & Hawkes: Krainis on Odyssey 32160144) $20.00. Te~pqranly ': out ,:.,0 .~nnt:~<
"Recorder Pieces from the 12 to the approx $2.00. (Also . contalns ,s 9 me 4,OOOa~dlhona~ ;,,~
20th Century." Murrill, Herbert. Sonata for Treble fingerings. D.0.; .no~" , h9'l!J~1!er; ::assume,~
C.R.A. [initials only] Tres Movi- Recorder or Flute. London: Oxford that these ;. WIll" g(t1per~ , :. pn :.~,a.~!~;,.',
recorders-they must be tested . Indl- i:'
mientos para Flauta Dulce (Soprano). University Press, 1951. approx. $2.00 . vidually. Alsocontain''s, '~x~~tpt~1r.o,mi~
Buenos Aires: Barry, 1962.(Boosey & the modern literature~'j not~tion}:h'arf~~~
Hawkes) $1.00. technical advice, and ; exercises fwhith .1;~
are", very \ c#fficult ..<Gerrriilri iind';\Eng~,r?,
Quantz, Johann Joachim. On Playing
The Flute. New York: Schirmer
Dorough, Robert. Eons Ago Blue for Books, 1966. In paperback, $7.'95 . . "are,_, ,v ery !c#ffi,c ult. <Ge~an ' i:ind ;.Eng~~'
A TTB Recorder Consort and optional (This is Edward R. Reilly's translation lish in one volume.) :. '.- -. . . '. '.. ~ ."
\ I. ,. , , ~ "
('*
a-. -
-...J GC -...J ....., ....., ~ 'J..
CQ"'~t o~~~o~ .we~ 0\1. ~~, 7 ~ ~"tN=\ te~.)
trills ana tremolo-the trill of low g to g
sharp (on the alto) is possible: the
fingering is 01234567 (trill 7).
special effects-in the notation of a por-
tamento or glissando, the composer
should be careful to notate exactly the
desired effect in the following manner:
the glissando will start (moving) at the
beginning of the last note (head) before
the line and will arrive at the note at the
end of the line, on time. If the composer
wants the note to be held a certain
amount of time before the glissando
starts, a note of that value should be tied
to the note before the line.
Stephen A . Malinowski
Santa Barbara, California
II
On the face of it measure one looks
easier to a nonrecorderist because the
jumps are smaller. As it happens, these
particular jumps are quite difficult to slur
smoothly. Both measures are much easier
tongued.
The following passage when slurred
using normal fingerings makes clicks:
~