The recorder is a family wooden musical instrument that includes a tin whistle. The recorder is broken and the instrument's mouth is limited by a wooden plug, known as a block or fipple . Distinguished from other family members by having a hole for seven fingers (one or two lower ones often doubled to facilitate semitone production) and one for the thumb of the uppermost hand. The recorder can be made of wood, plastic or ivory.
The recorders were popular in the middle ages through the baroque era, but declined in the 18th century in favor of woodwind orchestra instruments, such as flute, oboe, and clarinet.
Recorders were revived in the 20th century, in part to pursue a historically informed music performance, but also because of its suitability as a simple instrument for teaching music. Today, it is sometimes considered a child's instrument, but there are plenty of professional players demonstrating a complete set of solo instruments. See Recorder (musical instrument) for more information on advanced use.
Video Recorder (educational uses)
Instrument name
This instrument has been known by its modern name since at least the 14th century. Grove Dictionary reported the earliest use of the word recorder in the Earl of Derby household (later King Henry IV) in 1388: fistula nomine Recordour . Its name comes from "learning by heart", like a bird; recorders are considered to imitate bird song.
Maps Recorder (educational uses)
History
Internal flutes have a long history: examples of Iron Age specimens, made of sheep bones, are in the Leeds City Museum.
The recorders achieved great popularity in the 16th and 17th centuries. This development is related to the fact that the art of music (as opposed to folk music) is no longer the exclusive domain of nobility and clergy. The advent of the printing press makes it available to more affluent ordinary people as well. The popularity of the instruments also reaches the courts. For example, on the death of Henry VIII in 1547, his inventory included 76 recorders. There are also many references to instruments in contemporary literature (eg Shakespeare and Milton).
Some changes in recording construction occurred in the 17th century, which produced a type of instrument commonly referred to as Baroque , as opposed to previous Renaissance recorders . This innovation allows baroque recorders to have a tone that is considered more "sweet" than the previous instrument, at the expense of volume reduction, especially in the lowest notes, and slightly reduced range.
The instrument declined after the 18th century, used for the last time as another world voice by Gluck in his opera Orfeo ed Euridice. In the Romantic era, recorders were almost completely replaced by flutes and clarinets. One variant of the recorder survived into the 19th century concert hall, however: a key recorder known as czakan or StockflÃÆ'¶te .
Modern revival
Recorders were revived around the turn of the 20th century by early music enthusiasts, but used almost exclusively for this purpose. It is considered the most historic instrument. Even in the early twentieth century it was not unusual that Stravinsky considered him a kind of clarinet, as he had said one day to Frans BrÃÆ'¼ggen, when asked to write a new piece for the recorder. This reaction is not surprising because the initial clarinet, in a sense, comes from the recorder, at least in its outward appearance.
The success of recorders in the modern era is often associated with Arnold Dolmetsch in England and various German scholars/performers. While he is responsible for expanding interest beyond that of an early music specialist in England, the Dolmetsch is far from being responsible for the resurrection of the recorder. On the Continent, his efforts were preceded by the musicians at the Brussels Conservatoire (where Dolmetsch received his training), and by the German-based Bogenhauser KÃÆ'¼nstlerkapelle (Bogenhausen Artists' Band). During the period 1890-1939 the Bogenhausers played music of all ages, including the setting of classical and romantic music. Also in Germany, Willibald Gurlitt's work, Werner Danckerts and Gustav Scheck run independently of the Dolmetsches. So revival, away from the work of one person, is the result of several strands coming and working together.
Carl Dolmetsch, son of Arnold Dolmetsch, became one of the first virtuoso recorders in the 1920s; but more importantly he began to assign recording artists from prominent composers of his day, especially to performances at his father's Haslemere festival. Originally as a result of this, and later as a result of the Dutch school development playing recorder led by Kees Otten, the recorder was introduced to a serious musician as a virtuoso solo instrument both in England and in northern Europe, and consequently a modern composer of great stature has been written for recorders, including Paul Hindemith, Luciano Berio, JÃÆ'¼rg Baur, Josef Tal, John Tavener, Michael Tippett, Benjamin Britten, Leonard Bernstein, Gordon Jacob, Malcolm Arnold, Steven Stucky and Edmund Rubbra.
Recorders are often used in popular music, including ones from groups such as The Beatles; Rolling Stones (see, for example, "Ruby Tuesday"); Yes, for example, in the song "I See All Good People"; Jefferson Airplane (see Personnel and also Grace Slick); Led Zeppelin (Stairway to Heaven); Jimi Hendrix; Siouxsie and Banshees; Judy Dyble of Fairport Convention; Mischief; and Mannheim Steamroller.
Some modern music calls for recorders to produce unusual sounds, rhythms and effects, with techniques like flutter-tonguing and overblowing to produce multiphonics. The composition of David Murphy 2002 Bavardage is an example, as is Hans Martin Linde's Music for Birds .
Among the twentieth century and early 21st century ensemble recorders, the trio of Sour Cream (led by Frans BrÃÆ'¼ggen), Flautando KÃÆ'¶ln, Flanders Recorder Quartet, Amsterdam Loeki Stardust Quartet and Quartet New Generation have programmed a remarkable mixture of history and contemporary. repertoire. Piers Adams is a recorder player who has toured and recorded widely, and was involved in education.
Record type
The recorder is named according to the size of the instrument. There are two naming schemes, one related to the historical use of the instrument, the other for the most similar human sound.
Descant or soprano
'Descant' is an ordinary term in the UK and most of the Commonwealth, while 'soprano' is a term used in US English.
This is the most common instrument currently and tuned to C, which means that the lowest tone is probably C. This can be a bit shrill, so in advanced games it is often limited to additional or additional lines above the main melody. Though it actually sounds an octave higher because the timbre feels as if it's the same tone as the human soprano. The relatively short distance between the hole and the cheapness of the instrument has made it the ideal first instrument in school.
Treble or alto
The treble recorder is the main melody instrument in advanced work, just like the treble in the church choir music. When reading recorder accounts in the past, this is usually the intended instrument unless otherwise stated. It sounds closest to the alto man's voice. Instruments tuned to F. Many school bands consist solely of descant/soprano and treble/alto instruments only. The range on the treble recorder is longer than the descant and this, along with the higher price, makes it a tool for those who are beginning to develop.
Tenor
Tenor recorders are sometimes found in schools. This is twice the size of the descant/soprano and may be too large to reach by the children's fingers. The lowest hole is controlled by one or two keys due to stretching. This is also set to C, but an octave under a smaller instrument.
Bass
Bass is the largest recorder commonly encountered. It is an F instrument, about three times the length of descant/soprano. Like the tenor, the lowest hole is controlled by a key.
More size
Specialist players can also use smaller instruments: garklein (C) and sopranino (F). There are larger instruments: big bass (C), contrabass (F), subcontrabass (C) and octobass (F). Medium instruments in D, B-flat, G and E-flat exist but will not be found in basic music.
Construction and operation
Today, high quality recorders are made from a variety of hardwoods. Plastic recorders are produced in large quantities. Plastics are cheaper and require less maintenance and a quality plastic recorder can be as good as a lower grade wooden instrument. The plastic recording device can be sterilized by soaking in a mild disinfectant, which may be desirable if it is shared among classes. Beginner instruments, usually found in children's ensembles, are made of plastic and can be purchased for a reasonably priced price.
The recorder is held out of the player's lips (not to the side, like a "transverse" flute). The player's breath is compressed into a linear air stream by cutting the channel to a "beam" or wooden fipple (A), in the instrument funnel, so to travel along this channeled channel (B) is called "windway". Out of the wind, the breath is directed to the hard edge (C), called "labium" or "ramp", which causes the air column inside the resonator tube to oscillate with standing waves. Unlike a simple whistle where the hole is getting opened, the recorder uses half-holing and forking (see below) to change the position of the node.
Notation and pitch
School recorders are installed in the concert hall (A = 440 Hz).
Family recorders do not transpose, which means that sheet music for the recorder is almost always written in the key it plays. C written in the score actually sounds as C. The recorder is referred to as "C-fingered" or "F-fingered", depending on the lowest record. This implies that the player must learn two sets of different radii, one for the C recorder and one for the F recorder. A player can go from one C-fingered instrument to another easily, and from one F-fingered instrument to the instrument others easily, but switching between them requires knowing both sets of fingering, or the ability to transform visible music.
Recorder Descant/soprano transpose on octave, just like bass. In modern scores, octave transpositions can be indicated by adding a small number "8" above the treble or bass clef on the descant/soprano or bass recorder, but in the past and still common these days, transposition is not indicated and is assumed from context. The bass instrument uses bass clef but can sometimes use treble keys and transpose down an octave. Three other common instruments all use treble keys.
To make the transition to playing the treble/alto recorder easier, some educational music is written C-fingered, in which case the transpose instrument goes up to four.
As a rule of thumb, the voice recorder is an octave above the human voice after which they are named (soprano recorder is octave above the soprano sound, alto an octave above the alto sound, etc.) The mellow tone recorder and harmonics are limited allowing for a seemingly more sound in.
Fingering
Note 1: See the Recorder type sections on recorders set in C or in F.
Note 2: The individual recorder may require this hole to be closed (?), Half closed (?), Or open (?) To play the tone aligned.
? means covering the hole. ? means uncovering a hole. ? means half-cover.
The range of modern recorders is usually taken to about two octaves except in virtuoso pieces. Refer to the table above to record the tones in the nomal recording range of 2 octaves and 1 tone intact. Notes above this range are harder to play, and the proper fingering varies from instrument to instrument, so it's not practical to include them in the table here. The above numbers correspond to the radius and the holes on the recorder, according to the drawing.
Half-holing, forking, and shading
The lowest degree of chromatic scale - semitone and a third minor above the lowest note - is played only by partially closing the hole, a technique known as "half-holing". Most modern instruments are built with double holes or keys to facilitate the playback of this note; Such double holes are sometimes found on baroque instruments, where even the holes for the third finger of the left hand can be duplicated. The degree of other chromatic scales is played by what is called the "fork" radius, revealing a hole and covering one or more holes beneath it. The fork radius has a distinct tone character from diatonic tones, giving a rather uneven sound recorder. Budget tenor/bass recorders may have one key for low C/F but not low C ? /F ? , making this note almost impossible to play. Dual low buttons that allow C/F and C ? /F ? is more or less the current standard.
Pinching
Most of the notes in the second octave and above are produced by opening partially the thumb hole on the back of the recorder, a technique known as "pinching". There are two basic methods to accomplish this: a) pull the thumb away from the hole, and b) bend the thumb. The first method uses only the thumb skin to determine the opening, while the second method uses also the edge of the nail. The latter technique allows a better feeling and thus controls the size of the opening. The placement of the thumb is very important for the tone, intonation and stability of this note, and varies when note tones are increased, making boring double holes for the unchangeable thumb. To play notes in the second register and above, players should generally blow more air into the instrument and/or tongue rather difficult to generate second harmonic or top instruments. This, however, is not universally true; may be for example to berate piano between and in the second and third registers.
German fingering
At the beginning of the 20th century, Peter Harlan developed a recorder that made it possible to fathom a seemingly simpler, so-called German fingering. A recorder designed for German fingering has a five-hole smaller than a four-hole, whereas baroque recorders and neo-baroque have four holes smaller than five holes. The direct difference in fingering is for F and B ? which in the neo-baroque instrument must touch 0 123 4-67. With German fingering, it becomes simpler 0 123 4 - - -. Unfortunately, however, this causes many other colored notes to be so bad that they can not be used. German fingering became popular in Europe, especially Germany, in the 1930s, but quickly became obsolete in the 1950s as recorders began to be treated more seriously and the limitations of German fingers became more widely appreciated. Nevertheless, many record makers continue to produce instruments of German fingers today, basically just for beginner use.
Dynamics
Changes in dynamics are not easily achieved on the recorder if the player is accustomed to other wind instruments. The common belief is that if the player blows harder to play louder, or softer to play softer, the pitch changes and notes are aligned, and unlike the transversal flute, the player can not change the position of the mouth in relation to the labium to compensate, and by therefore the recorder is unable to make dynamic changes. This is misleading. Subtle changes in wind pressure are possible if the player has a good ear for tuning and knows how hard the instrument can be pushed before the pitch change becomes real. But this is not the correct approach to recorder dynamics. On the recorder, it is better to think of the tone of the breath controller, and the fingers controlling the dynamics; for example by resting light fingers on the leaky breathing holes around them, lifting the pitch; and the instinctive changes generated in the breath pressure to bring the pitch back also drop the volume. This recorder is famous for its sensitivity to articulation; in addition to the obvious use for skilled players artistic effects can also use this sensitivity to suggest volume changes.
Use in school
In the mid-20th century, composer and music educator from Germany, Carl Orff popularized the recorder for use in school as part of the Orff-Schulwerk program in German schools. Orff's five volume work of educational music Music for Children contains many parts for recorders, usually printed for other instruments as well.
Manufacturers have made recorders of bakelite and other more modern plastics; they are thus easy to produce, so it is not expensive. Therefore, recorders are very popular in schools, because they are one of the cheapest instruments to buy in bulk. They are also relatively easy to play at the base level because sound production requires only breath, and the tone is basically determined by the fingers. However, it is incorrect to assume that mastery is equally easy - like other instruments, the recorder requires learning to play well and in harmony, and significant learning to play at an advanced or professional level.
Unconventional use
Head recorders are sometimes used as instruments of noise, rhythm and effects, and as musical instruments toys with children (eg in rhythms), because the head recorder works like a whistle. With a little practice, it's easy to play all kinds of rhythms. Effects are made by opening and closing the bottom end of the head joint by hand while blowing. Agnes Dorwarth from Hochschule fÃÆ'¼r Music Freiburg believes this is an interesting way to make children play with parts of the instrument, which can make playing the whole instrument more inviting. Many players blow harder than the "normal" recorder play (like with a peanut whistle) to achieve a very loud, shrill and penetrating sound.
The recorder can also give effect by hitting the bell with the palm of the hand. The tone varies according to the instrument type. Although not recorded the record will be the soft version of the record's lowest note.
Additional effects can be obtained by blowing in the window, somewhat after the way the flute. Fingering can be used; the effect is like a soft baroque flute, breath, and breathing.
Record component
The recorder is a very social instrument. Many recording players participate in large groups or in groups of one-to-a-part rooms, and there is a wide variety of music for such groups including many modern works. Different sized instrument groups help to offset the range of limited records of each instrument. The four-piece arrangement with the soprano, alto, tenor and bass played on the appropriate recorder is common, although more complicated arrangements with multiple sections for each instrument and parts for lower and higher instruments can also be regularly encountered.
References
Source of the article : Wikipedia
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