Manufacturers have made recorders out of bakelite and other more modern plastics; they are thus easy to produce, hence inexpensive. We zijn nog steeds groter dan het ensemble The Royal Wind Music! 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. [33], Some recorders have tone holes too far apart for a player's hands to reach, or too large to cover with the pads of the fingers. In plaats daarvan houdt ons systeem rekening met zaken als hoe recent een recensie is en of de recensent het item op Amazon heeft gekocht. The desired instrument for the fiauti d'echo parts in BWV 1049 has been a matter of perennial musicological and organological debate for two primary reasons: first, the term fiauto d'echo is not mentioned in dictionaries or tutors of the period; and second, the first fiauto part uses F#6, a note which is difficult to produce on a Baroque alto recorder in F4. Martin Agricola's Musica instrumentalis Deudsch ("A German instrumental music, in which is contained how to learn to play ... all kinds of ... instruments"), written in rhyming German verse (ostensibly to improve the understanding and retention of its contents), provides a similar account and copies most of its woodcuts directly from Getutscht. [69] He also adds that the position of the tongue, either extended or turned up towards the palate, can be used to improve, vary, and color notes. [34], When playing a larger recorder, a player may not be able to simultaneously reach the keys or tone holes with the fingers and reach the windway with the mouth. ", "The Von Huene Workshop and the Early Music Shop of New England – Ergonomic or "Comfort, "The Von Huene Workshop and the Early Music Shop of New England – Küng "Superio" Contrabass", "The Von Huene Workshop and the Early Music Shop of New England – Baroque & Modern Basses", "Kunath Instrumentenbau – Square Bass recorders", http://www.sorel-recorders.nl/models/m01ganassiE.html, http://www.sorel-recorders.nl/models/m10pricesexE.html, http://www.sorel-recorders.nl/models/m05stanesbyE.html, "Baroque/English Recorder Fingering Chart", International Music Score Library Project, "Musica instrumentalis Deudsch (Agricola, Martin)", "Opera Intitulata Fontegara (Ganassi, Sylvestro)", "Il Dolcimelo (Virgiliano, Aurelio) – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music", "The Recorder Consort at the English Court 1540–1673: Part I", "Trio Sonata in F major, H.588 (Bach, Carl Philipp Emanuel)", "Schultze, Johann Christian (c. 1740): Concert B flat-Major-EW986", The Recorder Home Page maintained by Nicholas S. Lander, "The Enduring Mystery of Jefferson Airplane's, "Philippe Bolton, Recorder Maker – Electroacoustic Recorders", "Philippe Bolton, Recorder Maker – a Recorder Bell Key", http://www.vosa.org/paul/sales_folder/orff_recorder.htm, "Recorder flute definition of Recorder flute in the Free Online Encyclopedia", Philippe Bolton’s page of Historical recorder fingering charts, Philippe Bolton’s page of modern recorder fingering charts, https://en.wikipedia.org/w/index.php?title=Recorder_(musical_instrument)&oldid=986515902, Articles with dead external links from October 2019, Articles with permanently dead external links, Pages containing links to subscription-only content, Wikipedia articles needing page number citations from February 2019, Articles with International Music Score Library Project links, Wikipedia articles needing page number citations from March 2014, Articles with German-language sources (de), Articles containing Italian-language text, Wikipedia articles needing clarification from August 2018, Articles needing additional references from May 2019, All articles needing additional references, Articles with unsourced statements from April 2020, Wikipedia articles with MusicBrainz instrument identifiers, Creative Commons Attribution-ShareAlike License, The recorder lacked a significant class of professional players, The recorder's true nature was not appreciated, The exploitation of the highest registers posed special problems for makers and players, Interest in clarino (4′ pitch) instruments was waning, As a result of the first five factors, the recorder had a bad reputation, which discouraged students from studying the instrument, This page was last edited on 1 November 2020, at 10:13. tapering towards the foot) to cylindrical, and all recorder fingering systems make extensive use of forked fingerings. Musica Getutscht, the earliest printed treatise on western musical instruments, is an extract of an earlier, now lost, manuscript treatise by Virdung, a chaplain, singer, and itinerant musician. The next treatise comes from Venice: Silvestro Ganassi dal Fontego's (1492–mid-1500s) Opera Intitulata Fontegara (1535), which is the first work to focus specifically on the technique of playing the recorder, and perhaps the only historical treatise ever published that approaches a description of a professional or virtuoso playing technique. Carl Dolmetsch, the son of Arnold Dolmetsch, became one of the first virtuoso recorder players in the 1920s; but more importantly he began to commission recorder works from leading composers of his day, especially for performance at the Haslemere festival which his father ran. 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. Notably, the baroque recorder in D4 is not commonly referred to as a D-tenor nor a D-alto; it is most commonly referred to using the historical name "voice flute". At the most basic level, the fingering technique of the recorder involves the sequential uncovering of the holes from lowest to highest (i.e., uncovering 7, then uncovering 7 and 6, then uncovering 7, 6 and 5, etc.) The recorders' internal and external proportions vary, but the bore is generally reverse conical (i.e. Recorders with a cylindrical profile are depicted in many medieval paintings, however their appearance does not easily correspond to the surviving instruments, and may be stylized. 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. The numbers at the top correspond to the fingers and the holes on the recorder. 1800). 1694) and Bonanni (1722) which equate flautino to the flageolet. [92] They were initially popular in France, and it is from there that the flageolet first arrived in England in the seventeenth century, becoming a popular amateur instrument, as the recorder later did. The introduction of the Baroque recorder to England by a group of French professionals in 1673 popularized the French name for the instrument, "flute douce", or simply "flute", a name previously reserved for the transverse instrument. In the fingering 0123, air leaks from the open holes 4,5,6, and 7. Composers who have written for the recorder include Monteverdi, Lully, Purcell, Handel, Vivaldi, Telemann, Johann Sebastian Bach, Paul Hindemith, Benjamin Britten, Michael Tippett, Leonard Bernstein, Luciano Berio, and Arvo Pärt. 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. Dolmetsch instruments generally had a large rectangular windway, unlike the curved windways of all historical instruments, and played at modern pitch. Duct flutes remained popular even as the recorder waned in the 18th century. [4][3] As a result of the lack of high harmonics, writers since Praetorius have remarked that it is difficult for the human ear to perceive correctly the sounding octave of the recorder. This is not, however, a reflection of sounding pitch, and serves primarily to denote the pitch relationships between the different instruments. [19], Recorder consorts in the 16th century were tuned in fifths and only occasionally employed tuning by octaves as seen in the modern C, F recorder consort. )[7][8], The instrument name "recorder" derives from the Latin recordārī (to call to mind, remember, recollect), by way of Middle French recorder (before 1349; to remember, to learn by heart, repeat, relate, recite, play music)[9][10] and its derivative MFr recordeur (c.1395; one who retells, a minstrel). 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. This type is the recorder typically referred to as the "normal" Renaissance recorder, however this modern appellation does not fully capture the heterogeneity of instruments of the 16th century. The range of a modern "baroque" model recorder is usually considered two octaves and a tone. Around 1800, it was highly fashionable for make walking sticks with additional functions (e.g., umbrellas, swords, flutes, oboes, clarinets, horns) although the csakan was the most popular of these, and the only one that became a musical instrument in its own right. Initially as a result of this, and later as a result of the development of a Dutch school of recorder playing led by Kees Otten, the recorder was introduced to serious musicians as a virtuoso solo instrument both in Britain and in northern Europe. [91] Support for this view rests on the organological classification of some 19th century duct flutes as recorders. The table in this section shows the standard names of modern recorders in F and C and their respective ranges. [71] Both instruments use fingerings of the makers' design. The block has survived, but the labium is damaged, making the instrument unplayable. Ongeveer 15 jaar geleden is de Blokfluitgroep Flauto Dolce in Amsterdam opgericht door Willem Bremer. 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. They are found in almost every musical tradition around the world. Additionally, the Fitzwilliam wind manuscript (GB-Cfm 734) contains wordless motets, madrigals and dance pieces, including some by the Bassano family, probably intended for a recorder consort in six parts. No music marked for the recorder survives from prior to 1500. Recorders with a square cross-section may be produced more cheaply and in larger sizes than comparable recorders manufactured by turning. It was first described by Mersenne in Harmonie universelle (1636) as having four fingers on the front, and two thumb holes on the back, with lowest note C6 and a compass of two octaves. Orff-Schulwerk Floetenbuch, Preface. 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). The shape of the vocal track affects the velocity and turbulence of the air entering the recorder. [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]. The player must adjust the position of the thumb for these notes to sound stably and in tune. The shape of the mouth and vocal tract affect are closely related to the consonant used to articulate. 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. This is perhaps a sign of the trinity, although the music must have often been in three parts.[3]. Ontdek het beste van shopping en entertainment, Gratis en snelle bezorging van miljoenen producten, onbeperkt streamen van exclusieve series, films en meer, Je onlangs bekeken items en aanbevelingen, Selecteer de afdeling waarin je wilt zoeken. Recorders are traditionally constructed from wood and ivory, while most recorders made in recent years are constructed from molded plastic. Another surviving Renaissance type has a narrow cylindrical bore and cylindrical profile like the medieval exemplars but a choke at the last hole. Partial covering of the holes is an essential part of the playing technique of all recorders. [96], Around 400 works for the csakan were published in the first half of the 19th century, mainly for csakan solo, csakan duet or csakan with guitar or piano. In his fingering chart, he numbers which fingers to lift rather than those to put down and, unlike in later charts, numbers them from bottom (1) to top (8). This chart is a general guide, but by no means a definitive or complete fingering chart for the recorder, an impossible task. 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. Its pipes play at F4 and B♭4. He is the first to differentiate between the amount of the breath (full, shallow, or moderate) and the force (relaxed or slow, intense, and the median between them) as well as the different amount of air required for each instrument, and describes a trill or vibrato called a vox tremula in which "a tremulous quality in the breath" is combined with a trilling of the fingers to vary the interval from anything between a major third and a diesis. Groups of recorders played together are referred to as "consorts". Consequently, the most air leaks from the fourth hole and the least air leaks from the seventh hole. Thus, at the same air pressure, the fingering 01235 produces a pitch between 0123 and 01234. Whereas on the vast majority of baroque recorders and all earlier recorders these two fingers covered a single hole ("single holes"), double holes have become standard for baroque modeled modern recorders. Many standard recorder fingerings are forked fingerings. Vivaldi wrote three concertos for the flautino, possibly for performance by students at the Ospedale della Pietà in Venice, where he taught and composed in the early 18th century. 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. Ganassi gives fingering tables for a range of an octave and a seventh, the standard range also remarked by Praetorius, then tells the reader that he has discovered, through long experimentation, more notes not known to other players due to their lack of perseverance, extending the range to two octaves and a sixth. A significant question in this debate is which, if any, duct flutes of this period are recorders or successors to recorders. The player may also leak other holes to destabilize lower harmonics in place of the thumb hole (hole 0). The player must coordinate fingers and tongue to align articulations with finger movements. Nonetheless, Ganassi offers a tantalizing glimpse at a highly developed professional culture and technique of woodwind playing that modern players can scarcely be said to have improved upon.[68]. At higher airstream velocities, lower modes of vibration of the air column become unstable, resulting in a change of register. Today, recorder sizes are named after the different vocal ranges. Most wind bands consisted of players playing sackbutts, shawms, and other loud instruments doubling on recorder. A recorder designed for German fingering has a hole five that is smaller than hole four, whereas baroque and neo-baroque recorders have a hole four that is smaller than hole five. [35] Alternatively, some recorders have a bent bore that positions the windway closer to the keys or finger holes so the player can comfortably reach both. The csakan's repertoire has not yet been fully explored. Musica getutscht (1511), and Martin Agricola's (1486–1556) similar Musica instrumentalis deudsch (1529), published in Basel and Saxony respectively. Als je productpagina’s hebt bekeken, kijk dan hier om eenvoudig terug te gaan naar de pagina's waarin je geïnteresseerd bent. The pitch and volume of the recorder sound are influenced by the speed of the air travelling through the windway, which may be controlled by varying the breath pressure and the shape of the vocal tract. Two recorders marked "C.RAFI" were acquired by the Accademia Filarmonica, Bologna in 1546, where they remain today. The eventual success of the recorder in the modern era is often attributed to Arnold Dolmetsch. He is also the first writer to mention the recorder in D5 ("discantus"), which he leaves unnamed. While he was responsible for broadening interest in the United Kingdom beyond the small group of early music specialists, Dolmetsch was not solely responsible for the recorder's broader revival. Some music probably intended for this group survives, including dance music by Augustine and Geronimo Bassano from the third quarter of the 16th century, and the more elaborate fantasias of Jeronimo Bassano (c. 1580), four in five parts and one in six parts. [clarification needed], The earliest known document mentioning "a pipe called Recordour" dates from 1388. A consort of recorders or similar make, marked "P.GRE/C/E," was donated to the Accademia in 1675, expanding the pair marked "C.RAFI". As a result, he has suggested that these flutes should be described as improved flageolets, and has proposed the condition that true recorders produce a tone (rather than a semitone) when the seventh finger is lifted.[53]. For this reason, the number of professional exponents of the recorder was smaller than that of other woodwinds. Most of the surviving instruments from the period have a wide, cylindrical bore from the blockline to the uppermost fingerhole, an inverted conical portion down to around the lowest finger hole (the "choke"), then a slight flare to the bell. Following Harlan's success, numerous makers such as Adler and Mollenhauer began commercial production of recorders, fueling an explosion in the instrument's popularity in Germany. [112], In the mid-20th century, German composer and music educator Carl Orff popularized the recorder for use in schools as part of Orff-Schulwerk programs in German schools. Others attribute the decline of the recorder in part to the flute innovators of the time, such as Grenser, and Tromlitz, who extended the transverse flute's range and evened out its tonal consistency through the addition of keys, or to the supposedly greater dynamic range and volume of the flute.
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