Tuesday, 20 November 2012

Beethoven Virus in Recorder

Beethoven Virus in Recorder
Beethoven Virus with notas
Beethoven Virus - Diana Boncheva ( Original Player)
Beethoven - Sonata No. 8 "Pathetique" 3rd Mvt Allegro

How a Recorder Is Made.

Ode to Joy


German fingering – Baroque fingering?

Most school recorders are available in either fingering system so that a decision has to be made for one or the other at the time of purchase.The origin of the different fingering systems goes back to the rediscovery of the recorder in the 1920s . It was at this time that Peter Harlan developed the German fingering system to be used alongside the historical Baroque system. Many teachers considered the German fingering to be easier and more suitable for an initial introduction to music as this avoided the use of forked fingerings in the home scale.
Opinions differ on this point to this day. The fact remains, however, that some teachers still prefer the German fingering system as an introduction.

The main difference is the note F (Soprano Recorder) which can be fingered more easily in the German system (as opposed to the forked fingering of the baroque system, see below). However, this simplification often results in intonation problems when playing in keys other than the home key of the instrument: F sharp and G sharp require complicated fingerings if the tuning is to be right.

Modern recorder tutors therefore base their teaching method on the Baroque fingering system as even young children can adapt to this without any problems if suitably taught.
A frequent error
The double holes for C/ C-sharp and D/ D-sharp (soprano recorder) are often seen as an indication of the Baroque fingering system. However, double holes are possible in both fingering systems.

Baroque fingering can easily be recognised by the larger finger hole for the note F (soprano recorder) or B-flat (alto recorder) in comparison to German fingered recorders.

Baroque Recorder Fingerings Chart

(sometimes called "modern" or "English" fingerings)

RECORDER IN C (soprano or descant & tenor)
1st OCTAVE FINGERINGS (low notes)
3rd OCTAVE FINGERINGS (high notes)
● = closed ○ = open ø = partially closed
LH = left hand RH = right hand

Some 3rd octave notes require the bell to be closed (with the knee or a bell key).

Where several fingerings are indicated, the most appropriate for a given instrument should be used.

German Recorder Fingerings Chart

(sometimes called "modern" fingerings)

RECORDER IN C (soprano or descant & tenor)
1st OCTAVE FINGERINGS (low notes)

3rd OCTAVE (top)

● = closed ○ = open ø = partially closed
LH = left hand RH = right hand

Recorders with German fingerings are often made without double holes.

Where several fingerings are indicated, the most appropriate for a given instrument should be used.


The Position of the Hands on the Recorder


Sunday, 18 November 2012

The scales and Key Signatures



Dotted Notes

Ties and Slurs



Letter Names


Writing on a Stave



Bar-lines and Time Signatures



Time Names and Time Values



Saturday, 17 November 2012

Do you know how amazing in recorder?? Just see this....
It is really amazing...

Wednesday, 14 November 2012

Recorder-World Museum

A museum focused on recorders

For recorder lovers of all ages: school classes, families, playing groups, teachers, students – for anyone who is interested in the recorder and would like to learn more about it.

Recorder making, acoustic experiments, recorder history and much more …

Sound world

The place for experimenting! Get hands-on experience with recorders: turn them like it was done 300 years ago; engage with acoustic phenomena ...



The multitude of steps that have to be taken before a recorder is finished; the special atmosphere of a recorder workshop; the woods, interesting tools and machines – it's an experience to be had!

Historic and modern designs

Nowadays recorder players can choose instruments from a wide range of models that reflect the skills of recorder making of the most divers historic periods.

Recorders of the Renaissance and the Early Baroque (1) are recognised by their wide cylindrical bore and comparatively large finger holes. Their exterior is usually plain with only very limited decoration as can be found in those made by Hieronymus F. Kynseker
(1636–1686, Nuremberg). Their characteristic is the full strong sound, particularly in the lower register, that blends well in consort playing: the emphasis at the time was on consort playing rather than on solo repertoire.

Baroque recorders (2) are characterised by a more complex and irregular bore and smaller fingerholes. The exterior of these threepart recorders is decorated with ornamentally turned joints, such as those by Jacob Denner (1681–1735). Their elaborate design and detail make them highly suitable for the virtuosic music of the Baroque era: quick and clear response and flexibility over a range of more than two octaves combined with expressiveness and an even sound throughout all registers.

Harmonic recorders (3) surpass their historic predecessors in their innovative design. Their slightly conical bore combined with the lengthening of the instrument by the addition of keys open up entirely new sound possibilies and extend their range well into the third octave. Our Modern Alto and the Helder recorders were the first models to put this design into practice.

Tuesday, 13 November 2012


Reading the notes in a song can be very challenging at first! Luckily there are a few ways to make it easier. When playing the recorder, we read notes that are written on the treble clef staff. Each staff has five lines and four spaces. Every line and space has a specific letter name.
When learning the names of the space notes, we use the word "FACE".

When learning the names of the lines, we use the first letter from each word in the sentence "Every Good Bird Does Fly."

When we put the lines and spaces together, the notes move upward in alphabetical order.

Just because we have filled up all of the lines and spaces, it doesn't mean that we have named all of the notes. Sometimes, there are notes that are printed above or below the main staff lines. We can figure out the names of these notes by counting in alphabetical (or reverse alphabetical) order. The most common notes for the recorder that are found off of the main staff lines are Middle C and Low D.

For the Beginner

YRS-23 German Soprano Recorder
 The Yamaha YRS-23 German Soprano Recorder is in the key of C; German fingering; double holes: C-C#,
D-D#; 3-piece construction. The combination of tone, intonation, and ease of playing makes it number one in its class. Suitable for more advanced players as well as beginning students and very affordably priced.
YRS-24B Baroque Soprano Recorder
The Yamaha YRS-24B Soprano Recorder with Baroque Fingering is in the key of C. Double holes: C-C#,
D-D#; 3-piece construction. The combination of tone, intonation, and ease of playing makes it number one in its class. Suitable for more advanced players as well as beginning students and very affordably priced.
Yamaha Wooden Soprano Recorder
40,60 and 80 series
Yamaha Plastic Recorders 300 series

Recommended Recorders
If you wish to play popular songs it is recommended that you buy a Soprano or Tenor. These most closely approximate the range of the human voice and are capable of playing the notes of many modern tunes To play more traditional music the F Alto is recommended. The Sopranino and Bass are very specialized and really useful in ensemble playing.

Compared to most other instruments a soprano recorder is a very affordable instrument. Very fine wooden soprano recorders can be more expensive.

Yamaha makes a fairly decent soprano plastic recorder ( 20 and 300 series ) and wooden recorder ( 20, 40, 60,80,800 and 900 series ). This instrument will certainly allow you to learn recorder technique and play tunes. However, plastic doesn’t absorb any moisture: the recorder tends to clog up much quicker than a wooden model. In addition, a plastic instrument does not sound like a wooden instrument.

Buy the best instrument you can affored but don't let price interfere with getting one. A resonable priced recorder is generally good for a start and you can always get a better one later.

It is not recommended that the novice get a second recorder until he has mastered the first. When switching from an F to C or vice-versa, it is very easy to get confused and "goofy fingered". Once the fingerings are mastered, a second recorder is much easier to learn. If the student adequately masters both the C and F fingering, he can play any recorder (including German fingerings) with a little study and practice.


Holding the Recorder

Stand or sit erect in a natural and comfortable position. Beware of slouching as this will interfere with breathing and may cause poor tone. Hold the recorder at about a 45 degree angle and always support it with the thumb of the right hand.

The holes must be covered with the soft pad of the fingers and never with the finger tips. The fingers must make a complete seal over the holes but do not press very hard since this may cause a condition similare to writer's cramp.


Playing the Recorder

Proper blowing and breathing is the key to pleasing sounds. Breathing is sometimes a problem. On long passages, one has a tendency to run out of wind. Breaths should be taken from the diaphragm (like in singing) and expelled with support from the diaphragm. The upper chest should not move. This will allow for better breath control. When it becomes necessary to take a breath, it should be taken quickly and quietly.

Blowing is done through exhaling into the mouthpiece with the lips gently sealed around it and the end of the mouthpiece positioned in front of slightly separated teeth. Blow gently, sustaining the same pressure at all times. The greater the pressure, the higher (or sharper) the pitch and conversely, lesser pressure will lower (or flatten) the pitch. Proper blowing is essential to maintain the correct pitch (or intonation) of the note.

Playing a note starts with the attack. Silently say the word "Du" or "Tu" for each note. To terminate the note, the tongue moves forward toward the teeth and silently say a stopped "D" or "T".

The fingers should come down like little hammers, completely sealing the hole (unless a half hole fingering is needed, which will be explained in the lessons) and held tight for the duration of the note. When the note has stopped, the fingers must release quickly in order to repostition themselves for the next note.

The combination of blowing and fingering is called articulation.

Practicing Tips

1. Try to play every day.

2. Practice for at least an hour when you can.

3. Play for family and friends when you have mastered a piece.

4. Practice with no interruptions or background noise. You will concentrate better.

5. Listen to yourself, don't just play the notes.

6. Use your playing for relaxation. Don't try to play when stressed.

7. Take your recorder on vacation to a lake, forest, desert, mountain . . . . and play. You'll be surprised at how good they sound outdoors. If you have a decent wood recorder, get a cheap plastic one to take with you.

8. Don't play your recorder while taking a bath, shower or swimming.

9. Don't practice at 4 AM in an apartment building.

10. Bathroom acoustics are excellent. Ever notice how good singing in the shower can sound? Play in the bathroom (but NOT while showering). Remember to sit erect and not slouch for good tone.

Last and most important - ENJOY!
How to mute a recorder (parents)

Cut a piece of paper the same width as the window on your recorder. Folder the paper so that one quarter is folded backwards. Place the paper into the recorder window with the one quarter tucked inside.

General Musical Periods

In the above encapsulation, some dates overlap such as the Baroque and Rococo. This is historically due to the fact the musicologists consider the death of J. S. Bach in 1750 as the end of the Baroque while Bach's sons, Carl Philipp Emanuel, Wilhelm Friedman and Johann Christian Bach are assigned to the Rococo even though they were writing during their father's lifetime.

There are many composers who wrote for the recorder. Three of the most important and prolific were; C.P.E. Bach (1714-1788), George Friedrich Handel (1685-1759) and Georg Philipp Telemann (1681-1767). The student who continues to study the recorder and its literature will find them quite prominant. Because of these composers, the years 1725 to 1760 are considered the "Golden Age of the Recorder".

The greatest problem in playing traditional music on the recorder is what the Germans call Auffuhrungspraxis (practice of performance). Prior to 1550 the instruments were not specified in the sources. There are passages of vocal character with no words, music that is possible on a great many instruments and the fact the many instruments of the period are now obsolete and forgotten. It was the practice of the musicians to play a piece on whatever instrument was handy and could play the indicated notes. The idea of writing for a specific instrument during the middle ages and Renaissance was foreign to a 15th century composer. To them, the only important thing was to play the music. Very often the written score was absent of accidentals (sharps and flats) and had no tempo or dynamic instructions. It was understood that the musician would supply whatever embellishments he thought the piece required. Therefore, today much of the traditional recorder music is attributed to a certain composer based on style by an educated guess of an editor or arranger. It is quite proper for the modern player to provide his own interpretation and embellishments to early music.

Monday, 12 November 2012

A Brief History of Music

The history of western music is based on European tradition. The student will often encounter music designated in languages other than English. The most important designations are:

The above chart will be encountered in different combinations but will give the player a guide to the instruments. It is unclear in many cases which recorder is used, therefore, by reading the score and understanding something of the historical basis of the music, the scholar/musician can make a value judgement on the intentions of the composer.

The music of the recorder is termed "classical" by most. This is not, however, the case. From the middle ages to the beginning of the 20th century music was often based on popular themes. Generally speaking, prior to the phonograph, all music was "popular" or "pop". It was influenced by the Church, folk songs and the interpretations of both amateur and professional musicians. When folks gathered they danced and sang to the tunes of the day. It is fair to liken the music of Bach to Rock and Roll . . . as a leisure activity of the period and the Recorder to the Electric Guitar as the popular instrument of the late middle ages. The fun-loving crowds of Bach's time would grab a couple of jugs of wine, go over to Johnny's and jam after church. Historically, Johann Sebastian Bach would improvise all night or until the wine was gone.


Sunday, 11 November 2012

History of the Recorder

After about 1750 the recorder generally passed out of vogue, giving way to the modern transverse flute, due to advances in technology and the flute's ability to acheive a greater dynamic range.
The flute type of instruments were known to exist as early as 4000 B.C. in Egypt, Sumer and Israel. They have been traced to China in 2000 B.C. and to pre-Columbian Mexico and South America. These were made of clay or wood. In Europe, the transverse flute did not make its appearance until the 12th century and was called a swegel. The end blown flute or recorder has been around in its current form since about 800 A.D. The transverse flute was used primarily for military purposes while the recorder was the flute of choice for artistic purposes.

The recorder is the most important type of whistle (or fipple) flute. It has a tone quality that is highly individual and unique to each instrument. It can be soft, slightly reedy or mellow. In the span of time since the Middle Ages to the mid 16th century it evolved into a complete family from the treble to bass and was the basis of much important music of the late Renaissance (1500's).

By the late 18th century, one size (the Alto) remained in common use. This instrument was called the flauto by J. S. Bach and G. F. Handel. The flute parts of these composers and others of the period were written and performed on the F recorder. Occasionally the use of the flauto piccolo (little flute) was specified because of its high and piercing tone. The flauto piccolo is our modern day Sopranino.

In the 20 century the recorder underwent a revival begun by Arnold Dolmetsch in England and after 1918 by German manufacturers using large-scale production methods. In the 1970's Japan entered the market producing a large number of plastic recorders, some of which rival traditional wooden recorders in intonation and articulation.

There are two fingering systems, the Baroque (or English) and German. The German fingering has not gained favor and the Baroque is most often used.

Five sizes of recorder are commonly available. They are, according to country of origin:
There are other sizes that are very uncommon (and the big basses can be very expensive!).
  1. Garklein, pitched higher than the Sopranino. Only about 6 in. long (in C).
  2. Alto in G (not recomended since F is the traditional key for this instrument.
  3. Great Bass, pitched lower than the Bass (in C).
  4. Contrabass, a giant of a thing pitched very low (in F).
  5. Sub Contrabass, the biggest of them all. Can be about 9 ft. tall! (in C)
The Alto has the most extensive literature followed by the Soprano. Generally speaking, the music of the Soprano can be played on a Tenor and the Alto music can be played on the Sopranino.

Because of the availability of modern recorders much has been written for them in the 20th century. The F instruments are most played for traditional repertoire and the C instruments are most used for popular music inasmuch as the C range most approximates that of the human voice.

The bass recorder is used primarily in ensemble playing and does not have a solo repertoire.

Introduction of the Recorder

The recorder is a woodwind musical instrument of the family known as fipple flutes or internal duct flutes—whistle-like instruments which include the tin whistle. The recorder is end-blown and the mouth of the instrument is constricted by a wooden plug, known as a block or fipple. It is distinguished from other members of the family by having holes for seven fingers (the lower one or two often doubled to facilitate the production of semitones) and one for the thumb of the uppermost hand. The bore of the recorder is tapered slightly, being widest at the mouthpiece end and narrowest towards the foot on Baroque recorders, or flared almost like a trumpet at the bottom on Renaissance instruments. Recorders can be made out of wood, plastic or ivory.

The recorder was popular in medieval times through the baroque era, but declined in the 18th century in favour of orchestral woodwind instruments, such as the flute, oboe, and clarinet. During its heyday, the recorder was traditionally associated with pastoral scenes, miraculous events, funerals, marriages and amorous scenes. Images of recorders can be found in literature and artwork associated with all of these. Purcell, Bach, Telemann and Vivaldi used the recorder to suggest shepherds and imitate birds in their music, a theme that continued in 20th-century music.

The recorder was revived in the 20th century, partly in the pursuit of historically informed performance of early music, but also because of its suitability as a simple instrument for teaching music and its appeal to amateur players. Today, it is often thought of as a child's instrument, but there are many professional players who demonstrate the instrument's full solo range. The sound of the recorder is remarkably clear and sweet, partly because of the lack of upper harmonics and predominance of odd harmonics in the sound.