Recorder

Various recorders (second from the bottom disassembled into its three parts) The recorder is a woodwind musical instrument of the family known as fipple flutes or internal duct fluteswhistle-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.[1] 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. 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.[2] 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.[3] 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.[4] perakam Perakam pelbagai (kedua dari bawah dibuka kepada bahagian-bahagian tiga)

Perakam instrumen woodwind muzik yang keluarga yang dikenali sebagai serunai fipple atau instrumen saluran dalaman serunai seperti wisel yang termasuk wisel timah. Perakam akhir besarbesaran dan mulut instrumen adalah sempit oleh palam kayu, yang dikenali sebagai blok atau fipple. [1] Ia dibezakan daripada ahli keluarga yang lain dengan mempunyai lubang selama tujuh jari (lebih rendah satu atau dua biasanya dua kali ganda untuk memudahkan pengeluaran semitones) dan satu untuk ibu jari tangan yang menang. Jara perakam adalah tirus sedikit, iaitu seluas-luasnya pada akhir pelekap mulut dan sempit ke arah kaki pada perakam Baroque, atau yang berkobar hampir seperti sangkakala di bahagian bawah ke atas instrumen Renaissance. Perakam adalah popular di zaman pertengahan melalui era barok, tetapi merosot pada abad ke-18 memihak kepada instrumen woodwind orkestra, seperti seruling, oboe, dan klarinet. Pada masa

kejayaannya, perakam tradisional dikaitkan dengan adegan pastoral, peristiwa ajaib, pengkebumian, perkahwinan dan adegan amorous. Imej perakam boleh didapati dalam sastera dan karya seni yang berkaitan dengan semua ini. Purcell, Bach, Telemann dan Vivaldi menggunakan perakam untuk mencadangkan gembala dan meniru burung dalam muzik mereka, tema yang terus dalam muzik abad ke-20. [2] Perakam telah dihidupkan semula pada abad ke-20, sebahagiannya dalam usaha mencapai prestasi sejarah bermaklumat muzik awal, tetapi juga kerana kesesuaian sebagai instrumen yang mudah untuk mengajar muzik dan rayuan kepada pemain amatur. Hari ini, ia sering difikirkan sebagai instrumen kanak-kanak, tetapi terdapat banyak pemain profesional yang menunjukkan pelbagai solo penuh dengan instrumen ini. [3] Bunyi perakam adalah sangat jelas dan manis, sebahagiannya kerana daripada kekurangan harmonik atas dan penguasaan harmonik ganjil dalam bunyi. [4]

The name of the instrument

The instrument has been known by its modern name at least since the 14th century. Grove's Dictionary reports the earliest use of the word 'recorder' was in the household of the Earl of Derby (later to become King Henry IV) in 1388: fistula nomine Recordour.[5] The name originates from the use of the word record, one meaning of which is "to practise a piece of music".[6] Up to the 18th century, the instrument was called flauto (flute) in Italian, the language used in writing music, whereas the instrument we today call the flute was called flauto traverso. This has led to some pieces of music occasionally being mistakenly performed on the flauto traverso (transverse flute) rather than on the recorder.[5] Today, the recorder is known as flauto dolce in Italian (sweet flute), with equivalents in other languages, such as flauta doce in Portuguese and flauta dulce in Spanish. In those two languages, the name flauta is ambiguous, as it can mean any kind of transverse flutes, a recorder, or different other types of wind blown instruments, like the pan flute and some instruments used by the descendants of native peoples of the Central and South Americas (with varied degrees of influence of European instruments). In French the word flte is similarly ambiguous (the French translation is "flte bec", literally "beaked flute"). From the "Block", (fipple plug) in German the instrument is known as Blockflte, while the modern flute is called Querflte (literally from flauto traverso) or simply Flte. Naming in Dutch follows the same convention as in German, with blokfluit naming the recorder and dwarsfluit the flute.
Nama instrumen Instrumen tersebut telah dikenali dengan nama moden sekurang-kurangnya sejak abad ke-14. Kamus Grove melaporkan yang digunakan terawal 'perakam' perkataan adalah dalam isi rumah Earl yang Derby (kemudian untuk menjadi Raja Henry IV) di 1388:. Fistula nomine Recordour [5] Nama itu berasal dari penggunaan rekod perkataan itu, satu maksud yang "untuk mengamalkan sekeping muzik". [6] Sehingga abad ke-18, alat dipanggil flauto (seruling) dalam bahasa Itali, bahasa yang digunakan secara bertulis muzik, manakala instrumen kita hari ini memanggil seruling itu dipanggil flauto traverso. Ini telah membawa kepada beberapa keping

muzik yang kadang-kadang tersilap dilakukan pada traverso flauto (seruling melintang) dan bukannya pada perakam. [5] Hari ini, perakam dikenali sebagai flauto Dolce dalam (seruling manis) Itali, dengan setara dalam bahasa lain, seperti flauta doce dalam Portugis dan flauta Dulce dalam bahasa Sepanyol. Dalam kedua-dua bahasa, flauta nama adalah kabur, kerana ia boleh bermaksud sebarang jenis serunai melintang, perakam, atau lain-lain jenis instrumen angin, seperti seruling kuali dan beberapa instrumen yang digunakan oleh keturunan orang-orang asli Pusat dan Amerika Selatan (dengan ijazah pelbagai pengaruh instrumen Eropah). Dalam bahasa Perancis seruling perkataan adalah sama samar-samar (terjemahan Perancis adalah "seruling bec" literal "berparuh seruling"). Dari "Block", (fipple palam) di Jerman instrumen dikenali sebagai Blockflte, manakala seruling moden dipanggil Querflte (literal flauto traverso) atau hanya Flte. Menamakan dalam bahasa Belanda berikut konvensyen yang sama seperti di Jerman, dengan blokfluit menamakan perakam dan dwarsfluit seruling.

How the instrument is played

Cross-section of the head of a recorder The recorder is held outwards from the player's lips (rather than to the side, like the "transverse" flute). The player's breath is compressed into a linear airstream by a channel cut into the wooden "block" or fipple (A), in the mouthpiece of the instrument, so as to travel along this channeled duct (B) called the "windway".[7] Exiting from the windway, the breath is directed against a hard edge (C), called the "labium" or "ramp", which causes the column of air within the resonator tube to oscillate at the desired frequency, determined by the bore length or open tone hole used.[7] The length of the air column (and the pitch of the note produced) is modified by finger holes in the front and thumb hole at the back of the instrument. Perakam diadakan keluar dari bibir pemain (bukannya sebelah, seperti "melintang" seruling).Nafas dari pemain yang dimampatkan ke dalam arus udara 1 linear oleh saluran 1 dipotong ke dalam "blok" kayu atau fipple (A), dalam pelekap mulut yang instrumen supaya untuk perjalanan sepanjang ini disalurkan duktus (B) yang dipanggil itu "windway". [7] Keluar dari windway, nafas ditujukan terhadap kelebihan keras (C), yang dipanggil "labium" atau "ramp", yang menyebabkan ruang udara dalam tiub pensalun untuk berayun pada frekuensi yang diingini, ditentukan oleh gereklubang nada panjang atau terbuka yang digunakan. [7] panjang turus udara (dan pic nota yang dihasilkan) diubahsuai oleh lubang jari di hadapan dan lubang ibu jari di belakang instrumen.

[edit] Types of recorders

RECORDER FAMILY Instruments in C Range Instruments in F Range

garklein

sopranino Listen to it

descant (soprano) Listen to it

treble (alto)

tenor

bass (bass in F)

great bass (bass in C)

contra bass

subcontra bass/ contra great bass

sub-subcontrabass/double contra bass (octocontrabass)

Recorders are made in a variety of sizes. They are most often tuned in C or F, meaning their lowest note possible is a C or an F. However, instruments in D, B flat, G, and E flat were not uncommon historically and are still found today, especially the tenor recorder in D, which is called a "voiceflute."[8] The table shows the recorders in common use, though the large ones are very rare; however, a still larger instrument, descending to sixteen foot C (the lowest C on the piano keyboard), exists and is known as an octosubcontrabass. This has an extended compass of 3 octaves and a third and is manufactured by Jelle Hogenhuis in Holland.[9] The recorder most often used for solo music is the treble recorder (known as alto in the USA), and when the recorder is specified without further qualification, it is this size that is meant.[10] The descant (known as the soprano in the USA) also has an important repertoire of solo music (not just school music) and there is a little for tenor and bass recorders.[11] Classroom instructors most commonly use the descant. The largest recorders, larger than the bass recorder, are less often used, since they are expensive and their sizes (the contrabass in F is about 2 metres tall) make them hard to handle.[citation needed] An experimental 'piccolino' has also been produced which plays a fourth above the garklein. Although it might be considered that the garklein is already too small for adult-

sized fingers to play easily and that the even smaller piccolino is simply not practical, the fact that the holes for each finger are side by side and not in a linear sequence make it quite possible to play.
[12]

For recorder ensemble playing, the descant/soprano, treble/alto, tenor and bass are most common many players can play all four sizes. Great basses and contrabasses are always welcome but are more expensive. The sopranino does not blend as well and is used primarily in recorder orchestras and for concerto playing.[citation needed] The larger recorders have great enough distances between the finger holes that most people's hands can not reach them all. So, instruments larger than the tenor have keys to enable the player to cover the holes or to provide better tonal response; this is also true of the tenor itself, over the last hole, and much more rarely the alto. In addition, the largest recorders are so long that the player cannot simultaneously reach the finger holes with the hands and reach the mouthpiece with the lips. So, instruments larger than the bass (and some bass recorders too) may use a bocal or crook, a thin metal tube, to conduct the player's breath to the windway, or they may be constructed in sections that fold the recorder into a shape that brings the windway back into place.[citation needed] Perakam yang dibuat dalam pelbagai saiz. Mereka yang paling sering ditala di C atau F, bermakna nota mereka serendah mungkin C atau F. Walau bagaimanapun, instrumen di D, B flat, G, dan E flat tidak jarang berlaku dalam sejarah dan masih ditemui hari ini, terutama perakam tempoh di D, yang dipanggil [8] Jadual menunjukkan perakam biasa digunakan, walaupun orang-orang yang besar amat jarang "suara-seruling." Walau bagaimanapun, instrumen yang masih besar, dan menurun kepada 16 kaki C (C terendah piano keyboard), wujud dan dikenali sebagai octosubcontrabass 1. Ini mempunyai kompas lanjutan 3 oktaf dan 1/3 dan dihasilkan oleh Jelle Hogenhuis di Belanda. [9 Perakam yang paling sering digunakan untuk muzik solo perakam tiga kali ganda (dikenali sebagai Alto di Amerika Syarikat), dan apabila perakam dinyatakan tanpa kelayakan selanjutnya, ia adalah saiz ini yang dimaksudkan. [10] tune (dikenali sebagai soprano dalam Amerika Syarikat) juga mempunyai repertoir muzik solo yang penting (bukan sahaja sekolah muzik) dan terdapat sedikit untuk perakam tenor dan bass. [11] pengajar Bilik Darjah yang paling sering menggunakan tune. Perakam terbesar, lebih besar daripada perakam bass, kurang sering digunakan, kerana mereka ini adalah mahal dan saiz mereka (kontrabas dalam F kira-kira 2 meter) menjadikan mereka sukar untuk mengendalikan. [Perlu petikan] Satu eksperimen 'piccolino' juga mempunyai dihasilkan yang memainkan keempat di atas garklein. Walaupun ia mungkin dianggap bahawa garklein yang sudah terlalu kecil untuk jari orang dewasa bersaiz memainkan mudah dan yang piccolino yang lebih kecil adalah tidak praktikal, fakta bahawa lubang untuk jari setiap sebelah menyebelah dan tidak dalam turutan linear membuat agak mungkin untuk bermain. [12] Untuk bermain ensemble perakam, tenor tune / soprano, tiga kali ganda / Alto, dan bass yang paling biasa - pemain ramai boleh memainkan semua empat saiz. Basses besar dan contrabasses sentiasa dialu-alukan tetapi adalah lebih mahal. Yang sopranino tidak mengadun serta dan digunakan terutamanya dalam orkestra perakam dan untuk konserto bermain. [Petikan diperlukan] perakam yang lebih besar mempunyai jarak yang cukup besar antara lubang jari tangan kebanyakan orang tidak boleh sampai kepada mereka semua. Jadi, instrumen yang lebih besar daripada tempoh yang mempunyai kunci untuk membolehkan para pemain untuk menutup lubanglubang atau untuk menyediakan lebih baik sambutan yg mempergunakan gaya suara ini juga adalah benar tempoh itu sendiri, di atas lubang terakhir, dan lebih jarang alto. Di samping itu,

perakam terbesar selagi pemain tidak boleh secara serentak sampai lubang jari dengan tangan dan mencapai pelekap mulut dengan bibir. Jadi, instrumen yang lebih besar daripada bass (dan beberapa perakam bass terlalu) menggunakan 1 bocal atau penjahat, 1 tiub logam nipis, untuk menjalankan nafas pemain windway itu, atau mereka mungkin akan dibina dalam seksyen yang lipat perakam ke dalam bentuk 1 bahawa membawa kembali windway ke tempatnya. [perlu petikan]

A recorder with German fingering.One can tell the fingering of a recorder by the way it is built and by the finger-holes: 4th finger-hole large, 5th finger-hole small = German fingering 4th finger-hole small, 5th finger-hole large = Baroque fingering Today, high-quality recorders are made from a range of hardwoods: maple, pear wood, rosewood, grenadilla, or boxwood with a block of red cedar wood.[13] Plastic recorders are produced in large quantities. Plastics are cheaper and require less maintenance and quality plastic recorders (especially Aulos and Yamaha) are equal to or better than lower-end wooden instruments.

Beginners' instruments, the sort usually found in children's ensembles, are plastic and can be purchased quite cheaply. Most modern recorders are based on instruments from the Baroque period, although some specialist makers produce replicas of the earlier Renaissance style of instrument. These latter instruments have a wider, less tapered bore and typically possess a less reedy, more blending tone more suited to consort playing.[citation needed] In the early part of the twentieth century, Peter Harlan developed a recorder which allowed for apparently simpler fingering. This is German fingering. A recorder designed for German fingering has a hole five which is smaller than hole four, whereas baroque and neo-baroque recorders have a hole four which is smaller than hole five. The immediate difference in fingering is for F and B which on a neo-baroque instrument must be fingered 0 123 4-67. With German fingering, this is becomes a simpler 0 123 4---. Unfortunately, however, this causes many other chromatic notes to be too badly out of tune to be usable.[14] German fingering became popular in Europe, especially Germany, in the 1930s, but rapidly became obsolete in the 1950s as the recorder began to be treated more seriously and the limitations of German fingering became more widely appreciated.[15] Despite this, many recorder makers continue to produce German fingered instruments today, essentially for beginner use only.[citation needed] Some newer designs of recorder are now being produced. Larger recorders built like organ pipes with square cross-sections are cheaper than the normal designs if, perhaps, not so elegant.[16] Another area is the development of instruments with a greater dynamic range and more powerful bottom notes. These modern designs make it easier to be heard when playing concerti.[citation needed] Finally, recorders with a downward extension of a semitone are becoming available; such instruments can play a full three octaves in tune. The tenor is especially popular, since its range becomes that of the modern flute; Frans Brggen has publicly performed such flute works as Density 21.5 by Edgar Varse on an extended tenor recorder.[citation needed]
Perakam dengan fingering.One Jerman boleh memberitahu penjarian perakam dengan cara ia dibina dan oleh lubang jari: jari-lubang besar 4, 5 jari-lubang kecil = penjarian Jerman 4 jari-lubang kecil, 5 jari- lubang besar = Baroque penjarian Hari ini, perakam berkualiti tinggi dibuat daripada pelbagai kayu keras:. Maple, pir kayu, rosewood, grenadilla, atau boxwood dengan blok merah kayu aras kayu [13] perakam Plastik dihasilkan dalam kuantiti yang besar. Plastik adalah lebih murah dan memerlukan penyelenggaraan yang kurang dan perakam plastik kualiti (terutamanya Aulos dan Yamaha) adalah sama dengan atau lebih baik daripada instrumen kayu yang rendah. Instrumen yang baru bermul, jenis yang biasanya ditemui secara berkumpulan. Kanak-kanak, plastik dan boleh dibeli agak murah. Perakam paling moden berdasarkan instrumen dari tempoh Baroque, walaupun sesetengah pembuat pakar menghasilkan replika gaya Renaissance instrumen yang lebih awal. Instrumen-instrumen yang terkemudian ada yang lebih luas, gerek kurang tirus dan biasanya mempunyai kurang nyaring, nada lebih adunan lebih sesuai untuk suami bermain. [Perlu petikan] Pada awal abad ke-20, Peter Harlan membangunkan perakam yang dibenarkan untuk penjarian yang nampaknya mudah. Ini adalah penjarian Jerman. Perakam yang direka untuk penjarian Jerman mempunyai lubang lima yang lebih kecil daripada empat lubang, manakala perakam barok dan neo-baroque mempunyai lubang empat yang

lebih kecil daripada lima lubang. Perbezaan segera dalam penjarian untuk 'F' dan 'B ' yang instrumen neo-barok mesti turut membabitkan 0 123 4-67. Dengan penjarian Jerman, ini menjadi mudah 0 123 4 ---. Malangnya, ini menyebabkan banyak lain-lain nota kromatik menjadi terlalu buruk tdk sesuai boleh digunakan. [14] penjarian Jerman menjadi popular di Eropah, terutama sekali Jerman, pada tahun 1930-an, tetapi dengan cepat menjadi usang dalam tahun 1950-an sebagai perakam mula dianggap lebih serius dan batasan penjarian Jerman menjadi lebih meluas dihargai. [15] Walaupun begitu, banyak pembuat perakam terus untuk menghasilkan instrumen fingered Jerman hari ini, pada dasarnya untuk penggunaan pemula sahaja. [perlu petikan] Sesetengah reka bentuk baru perakam kini dihasilkan. Perakam yang lebih besar dibina seperti paip organ dengan salib-bahagian persegi adalah lebih murah daripada reka bentuk yang biasa-olah, mungkin, tidak begitu anggun. [16] kawasan lain ialah pembangunan instrumen dengan julat yang lebih dinamik dan nota bawah lebih berkuasa. Reka bentuk moden membuat ia lebih mudah untuk didengar apabila bermain concerti [perlu petikan] Akhirnya, perakam dengan sambungan menurun semitone 1 menjadi yang sedia ada; instrumen itu boleh bermain penuh tiga oktaf selaras. Tempoh adalah popular terutamanya, kerana rangkaian menjadi seruling moden; Frans Brggen secara terbuka melakukan kerja-kerja seruling seperti 21,5 Ketumpatan oleh Edgar Varese pada perakam tempoh yang panjang petikan [perlu

[edit] Standard pitch

Recorders are most commonly pitched at A=440 Hz. However, among serious amateurs and professionals, two other standard pitches are commonly found. For baroque instruments, A=415 Hz is the de facto standard,[17] while renaissance instruments are often pitched at A=466 Hz. [18] Both tunings are a compromise between historical accuracy and practicality. For instance, the Stanesby Sr alto, copied by many contemporary makers is based on A=403 Hz; some makers indeed offer an instrument at that pitch.[19] Some recorder makers offer 3-piece instruments with two middle sections, accommodating two tuning systems.[20] The 415 pitch has the advantage that it is an exact semitone lower than 440 Hz; there are harpsichords that can shift their keyboard in a matter of minutes.[21]
] Padang Standard Perakam yang paling sering bersaing di A Hz = 440. Walau bagaimanapun, antara amatur dan profesional yang serius, dua padang standard lain yang biasa ditemui. Bagi instrumen barok, A = 415 Hz ialah piawaian de facto, [17] manakala instrumen kebangkitan sering bersaing di A Hz = 466. [18] Kedua-dua menyelaraskan adalah satu kompromi di antara ketepatan sejarah dan praktikal. Sebagai contoh, Stanesby Sr Alto, disalin oleh pembuat kontemporari banyak berdasarkan A = 403 Hz, beberapa pembuat sesungguhnya menawarkan instrumen di padang itu [19] Sesetengah perakam pembuat menawarkan 3 keping instrumen dengan dua bahagian tengah, menempatkan 2 penalaan. sistem. [20] Padang 415 mempunyai kelebihan bahawa ia adalah satu semitone tepat yang lebih rendah dari 440 Hz; terdapat harpsichords yang boleh mengubah keyboard mereka dalam perkara minit [21].

Sheet music notation

Sheet music for recorder is nearly always notated in 'concert key,' meaning that a written "C" in the score actually sounds as a "C." This implies that the player must learn two different sets of similar fingerings, one for the C recorders and another for the F recorders. However, many sizes of recorder do transpose at the octave. The garklein sounds two octaves above the written pitch; the sopranino and soprano sound one octave above written pitch. Alto and tenor sizes do not transpose at all, while the bass and great bass sound one octave above written (bass clef) pitch. In modern scores, these transpositions are indicated by adding a small figure "8" above the treble or bass clef on sopranino, soprano or bass recorder parts, but in the past and still commonly today, the transpositions are not indicated and instead are assumed from context. Contrabass and subcontrabass are non-transposing while the octocontrabass sounds one octave below written pitch. Sizes from garklein down through tenor are notated in the treble clef while the bass size and lower usually read the bass clef. Professionals can usually read C-clefs and often perform from original notation. Alternative notations which are only occasionally used: 1. Bass recorder in F may be written in treble clef so that the low F is written an octave above real pitch (i.e. sound an octave below written pitch), so that its fingerings are completely octave-identical to the alto in F. 2. Great bass recorder in C may be written in treble clef. If so, it would probably be written up an octave to match the fingering of the tenor in C. 3. Tenor recorder in C may be written in bass clef one octave below real pitch in order to read choral parts for tenor voice. 4. Alto recorder in F may be written down an octave to read alto vocal parts. 5. All recorders may be transposed by both octave and key so that the lowest note is always written as middle C below the treble clef. In this system, only the tenor is non-transposing while all other parts would transpose up or down in fourths, fifths and octaves as appropriate. 6. Urtext editions of baroque music may preserve the baroque practice of writing treble(alto) recorder parts in the Violin clef (G clef on the bottom line of the stave). From the player's point of view, this is equivalent to using bass(et) recorder fingerings on the treble/alto recorder. As a rule of thumb, recorders sound one octave above the human voice after which they are named (soprano recorder is an octave above soprano voice, alto an octave above alto voice, etc.) The recorder's mellow tone and limited harmonics allows for the seemingly deeper sound.[22]

Lembaran muzik notasi Lembaran muzik untuk perakam hampir sentiasa Control dalam 'konsert utama,' bermakna bahawa bertulis "C" dalam skor sebenarnya berbunyi sebagai "C." Ini membayangkan bahawa pemain mesti belajar dua set yang berlainan fingerings sama, satu untuk perakam C dan satu lagi untuk perakam F. Walau bagaimanapun, saiz banyak perakam do alihan di oktaf. Garklein kedengaran dua oktaf di atas padang bertulis; bunyi sopranino dan soprano satu oktaf di atas padang bertulis. Saiz alto dan tenor tidak alihan sama sekali, manakala bass dan bunyi bass besar satu oktaf di atas bertulis (laras musik bass) padang. Dalam skor moden, transpositions ini ditunjukkan dengan menambah angka kecil "8" di atas tiga kali ganda atau laras musik bass pada bahagian-bahagian sopranino, soprano atau perakam bass, tetapi pada masa lalu dan masih biasa hari ini, yang transpositions tidak dinyatakan dan sebaliknya diandaikan daripada konteks. Kontrabas dan subcontrabass bukan mengundurkan manakala octocontrabass membunyikan satu oktaf di bawah padang bertulis. Saiz dari garklein turun melalui tempoh Control dalam laras musik yang tiga kali ganda manakala saiz bass dan rendah biasanya membaca kunci musik bass. Profesional biasanya boleh membaca C-Clefs dan kerap melakukan dari notasi asal. Notasi alternatif yang hanya kadang-kala menggunakan: 1. Bass perakam dalam F boleh ditulis dalam tiga kali ganda kunci musik supaya F rendah ditulis oktaf di atas padang sebenar (iaitu bunyi oktaf di bawah padang yang bertulis), supaya fingerings sepenuhnya oktaf-sama dengan Alto di F. 2. Perakam bass besar dalam C boleh ditulis dalam tiga kali ganda kunci musik. Jika ya, ia mungkin akan ditulis oktaf sepadan dengan penjarian tempoh matang di dalam C. 3. Tenor perakam dalam C boleh ditulis dalam bass oktaf satu kunci musik di bawah padang sebenar untuk membaca bahagian paduan suara suara tenor. 4. Alto perakam dalam F boleh diturunkan oktaf untuk membaca bahagian vokal alto. 5. Semua perakam boleh ditukar oleh kedua-dua oktaf dan utama supaya nota terendah sentiasa ditulis sebagai pertengahan C bawah laras musik yang tiga kali ganda. Dalam sistem ini, hanya tempoh tidak mengundurkan manakala semua bahagian-bahagian lain akan alihan atas atau bawah dalam perempat, perlima dan oktaf yang sesuai. 6. Edisi urtext muzik barok boleh mengekalkan amalan yang baroque menulis tiga kali ganda bahagian perakam (Alto) dalam kunci musik Violin (G kunci musik pada garis bawah yang mencegah). Dari sudut pandangan pemain, ini adalah bersamaan dengan menggunakan perakam fingerings bass (et) di perakam tiga kali ganda / alto. Sebagai peraturan ibu jari, perakam bunyi satu oktaf di atas suara manusia selepas yang mereka dinamakan (perakam soprano adalah oktaf atas suara soprano, alto 1 oktaf di atas suara alto, dan sebagainya.) Nada mellow Perakam dan harmonik terhad membolehkan kelihatan bunyi yang lebih mendalam.

Recorder fingering
penjarian perakam

Recorder fingerings (baroque): Lowest note through the nominal range of 2 octaves and a tone Note T u n e d i n F F F # G G # A A # B C C # D D # E C First Octave Second Octave Third Octave

H H H

H H H H

H H H

H H H H

H H H

H H H H

F G

How the fingers and holes are numbered The fingers The holes

Note 1: The bell must be stopped to play this note. Note 2: Individual recorders may need this hole to be closed (), half closed (), or open () to play the note in tune. Note 3: See the section Types of recorders concerning recorders tuned in C or in F.

means to cover the hole. means to uncover the hole. means half-cover. The range of a modern recorder is usually taken to be about two octaves except in virtuoso pieces. See the table above for fingerings of notes in the nominal recorder range of 2 octaves and 1 whole tone. Notes above this range are more difficult to play, and the exact fingerings vary from instrument to instrument, so it is impractical to put them into the table here. [23] The numbers at the top correspond to the fingers and the holes on the recorder, according to the pictures. In the table, "" signifies a closed hole, "" signifies an open hole, and "" signifies a half-closed hole. The note two octaves and one semitone above the lowest note (C# for soprano, tenor and great bass instruments; F# for sopranino, alto and bass instruments) is difficult to play on most recorders. These notes are best played by covering the end of the instrument (the "bell"); players typically use their upper leg to accomplish this. Some recorder makers added a special bell key for this note newer recorder designs with longer bores also solve this problem and extend the range even further. The note is only occasionally found in pre20th-century music, but it has become standard in modern music.[14]

Nota 1: loceng mesti dihentikan untuk memainkan nota ini. Nota 2: perakam individu mungkin perlu lubang ini akan ditutup (), separuh tertutup (), atau terbuka () untuk memainkan nota dalam lagu. Nota 3: Lihat Jenis seksyen perakam mengenai perakam yang ditala di C atau dalam F. Bagaimana jari dan lubang bernombor Lubang-lubang jari

 bermaksud untuk menutup lubang. bermakna untuk mendedahkan lubang. bermakna separuh-cover. Pelbagai perakam moden biasanya diambil kira-kira dua oktaf kecuali dalam kepingan pemain alat musik. Lihat jadual di atas untuk fingerings nota dalam julat perakam nominal 2 oktaf dan 1 nada keseluruhan. Nota-nota di atas julat ini adalah lebih sukar untuk bermain, dan fingerings tepat berbeza dari instrumen dengan instrumen, jadi ia tidak praktikal untuk meletakkan mereka ke dalam jadual di sini. [23] nombor di atas sesuai dengan jari dan lubang pada perakam , mengikut gambar. Dalam jadual, "" menandakan lubang yang tertutup, "" menandakan lubang terbuka, dan "" menandakan lubang separuh tertutup. Nota dua oktaf dan satu semitone atas nota terendah (C # untuk soprano, tenor dan instrumen bass yang hebat; F # untuk sopranino, alto dan instrumen bass) adalah sukar untuk dimainkan pada perakam kebanyakan. Nota ini terbaik yang dimainkan oleh meliputi hujung instrumen ("loceng"); pemain biasanya menggunakan kaki atas mereka untuk berbuat demikian. Sesetengah pembuat perakam menambah kunci loceng khas untuk nota ini - reka bentuk perakam yang baru dengan gerek yang lebih lama juga menyelesaikan masalah ini dan memanjangkan pelbagai lagi. Nota hanya sekali-sekala dijumpai dalam muzik-muzik pra-abad ke-20, tetapi ia telah menjadi piawai dalam muzik moden. [14]

[edit] Half-holing and forking

The lowest chromatic scale degrees a semitone and a minor third above the lowest note are played by covering only a part of a hole, a technique known as "half-holing." Most modern instruments are constructed with double holes or keys to facilitate the playing of these notes; such double holes are occasionally found on baroque instruments, where even the hole for the third finger of the left hand can be doubled. Other chromatic scale degrees are played by so-called "fork" fingerings, uncovering one hole and covering one or more of the ones below it. Fork fingerings have a different tonal character from the diatonic notes, giving the recorder a somewhat uneven sound. Budget tenor/bass recorders might have a single key for low C/F but not low C#/F#, making this note virtually impossible to play. Double low keys allowing both C/F and C#/F# are more or less standard today.[14]

Setengah-kerja penyediaan tapak dan forking Skala terendah darjah kromatik - semitone dan satu pertiga kecil di atas nota terendah yang dimainkan oleh meliputi hanya sebahagian daripada lubang, satu teknik yang dikenali sebagai "setengah holing." Instrumen yang paling moden dibina dengan dua lubang atau kunci untuk memudahkan permainan nota ini apa-apa lubang dua kadangkala dijumpai pada instrumen barok, di mana walaupun lubang untuk jari ketiga tangan kiri boleh dua kali ganda. Darjah skala kromatik lain yang dimainkan oleh apa yang dipanggil "garpu" fingerings, mendedahkan satu lubang dan meliputi satu atau lebih daripada orang-orang yang di bawahnya. Fingerings garpu mempunyai watak yg mempergunakan gaya suara yang berbeza dari nota diatonic, memberi perakam bunyi yang agak tidak sekata. Bajet tempoh / perakam bass

mungkin mempunyai kunci tunggal untuk rendah C / F tetapi tidak rendah C # / F #, membuat nota ini hampir mustahil untuk bermain. Double kunci rendah membolehkan kedua-dua C / F dan C # / F # adalah hari ini lebih atau kurang standard. [14]

[edit] Pinching
Most of the notes in the second octave and above are produced by partially closing the thumbhole on the back of the recorder, a technique known as "pinching". The placement of the thumb is crucial to the intonation and stability of these notes, and varies as the notes increase in pitch, making the boring of a double hole for the thumb unviable. To play the notes in the second octave, the player must tongue somewhat harder in order to excite the second and third harmonics of the instrument.[14] mencubit Kebanyakan nota dalam oktaf kedua dan ke atas yang dihasilkan oleh sebahagian menutup thumbhole yang di belakang perakam, satu teknik yang dikenali sebagai "mencubit". Penempatan ibu jari adalah penting untuk intonasi dan kestabilan nota ini, dan berubah mengikut nota meningkat di padang, membuat membosankan lubang dua ibu jari unviable. Untuk bermain nota dalam oktaf kedua, pemain mesti lidah agak lebih kuat untuk merangsang harmonik kedua dan ketiga instrumen. [14]

[edit] Notes in the third octave

A skilled player can, with a good recorder, play chromatically over two octaves and a fifth. Use of notes in the 3rd octave is becoming more common in modern compositions; several of these notes require closure of the bell or shading of the window area[24] (i.e. holding the palm of the hand above the window, partially restricting the air emerging from it). In the hands of a competent player, these upper notes are not especially loud or shrill. The renaissance recorder had a range of two octaves and a sixth,[25] though writers on woodwind instruments in general from that period, e.g. Praetorius, often give shorter ranges. This might reflect a distinction between skilled and unskilled players in the renaissance or the differences in instruments made in one region versus another or over time. Modern reproductions of renaissance instruments, especially those from the middle of the last century, often have a range as little as one and a half octaves[26] but more recent makers now produce reproduction renaissance instruments with the full range and Ganassi's fingerings. Consequently many publishers of recorder music refer to 'music for Ganassi recorder', or a similar phrase, when they mean recorder music with a range greater than two octaves and a tone.
Nota pada oktaf ketiga Seorang pemain yang mahir boleh, dengan perakam yang baik, bermain secara kromatik lebih dua oktaf dan kelima. Penggunaan nota dalam oktaf ke-3 menjadi lebih biasa dalam komposisi moden; beberapa nota ini memerlukan penutupan loceng atau teduhan kawasan tetingkap [24] (iaitu memegang tapak tangan di atas

tingkap, sebahagiannya menyekat udara baru muncul daripadanya). Di tangan pemain yang kompeten, nota ini atas tidak terutamanya kuat atau nyaring. Perakam kebangkitan mempunyai julat dua oktaf dan 1/6, [25] walaupun penulis atas instrumen woodwind secara umum dari tempoh itu, contohnya Praetorius, sering memberi lebih pendek adalah di antara. Ini mungkin mencerminkan perbezaan di antara pemain yang mahir dan tidak mahir dalam kebangkitan atau perbezaan dalam instrumen yang dibuat dalam satu rantau berbanding yang lain atau dari semasa ke semasa. Moden semula kebangkitan instrumen, terutamanya mereka dari pertengahan abad yang lalu, sering mempunyai pelbagai sedikit sebagai salah satu dan setengah 1 oktaf [26] tetapi pembuat lebih terkini menghasilkan instrumen kebangkitan semula dengan pelbagai penuh dan fingerings Ganassi. Akibatnya banyak penerbit muzik perakam merujuk kepada 'muzik untuk Ganassi perakam', atau frasa yang sama, apabila mereka maksudkan muzik perakam dengan rangkaian yang lebih besar daripada dua oktaf dan nada

[edit] Dynamics
Changes in dynamics are not easy to achieve on the recorder if the player is accustomed to other wind instruments. The general belief is that if the player blows harder to play louder, or more softly to play softer, the pitch changes and the note goes out of tune, and unlike the transverse flute, the player cannot change the position of the mouth in relation to the labium in order to compensate, and that therefore the recorder is not capable of dynamic changes. This is misleading. It is true that in the hands of a skilled player changes in dynamics by simply blowing harder or softer are possible provided the instrument is of a high quality and the player knows the instrument well. 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 pitch changes become noticeable. But this is not the correct approach to recorder dynamics.[14][27] On the recorder it is better to think of the breath controlling pitch, and the fingers controlling dynamics; for example by resting the fingers lightly on the holes breath leaks around them, lifting the pitch; and the resulting instinctive change in breath pressure to bring the pitch back also drops the volume. Advanced players use alternative fingerings to enable changes in dynamics.[28] The recorder is notable for its sensitivity to articulation; in addition to its obvious use for artistic effect skilled players can also use this sensitivity to suggest changes in volume.[27] Dinamik Perubahan dalam dinamik tidak mudah untuk mencapai perakam jika pemain biasa kepada instrumen angin lain. Itu kepercayaan umum adalah bahawa jika pemain bertiup keras untuk bermain lebih kuat, atau lebih lembut untuk bermain lembut, yang perubahan padang dan nota pergi keluar daripada lagu, dan tidak seperti seruling yang melintang, pemain tidak boleh mengubah kedudukan mulut berhubung dengan labium dalam untuk pampasan, dan oleh itu perakam tidak mampu perubahan yang dinamik. Ini adalah mengelirukan. Memang benar bahawa dalam tangan perubahan pemain mahir dalam dinamik dengan hanya meniup keras atau lembut mungkin disediakan instrumen kualiti yang tinggi dan pemain tahu instrumen. Perubahan halus dalam tekanan angin adalah mustahil jika pemain mempunyai telinga yang baik untuk penalaan dan mengetahui bagaimana keras instrumen tersebut boleh ditolak sebelum perubahan padang menjadi ketara. Tetapi ini bukanlah pendekatan yang betul kepada dinamik perakam [14] [27] Pada perakam ia adalah lebih baik untuk berfikir nafas mengawal padang, dan jari mengawal dinamik.

Contohnya dengan berehat jari ringan pada kebocoran nafas lubang di sekeliling mereka, mengangkat padang; dan perubahan yang terhasil naluri dalam tekanan nafas untuk membawa padang kembali juga jatuh kelantangan. Pemain maju menggunakan fingerings yang alternatif bagi membolehkan perubahan dalam dinamik [28] Perakam terkenal untuk kepekaan kepada artikulasi. Di samping untuk kegunaan jelas untuk peserta kesan artistik mahir juga boleh menggunakan sensitiviti ini untuk mencadangkan perubahan dalam jumlah [27]

History
[edit] Early recorders
Internal duct-flutes have a long history: an example of an Iron Age specimen, made from a sheep bone, exists in Leeds City Museum.[29] The true recorders are distinguished from other internal duct flutes by having eight finger holes (in use - see below); seven on the front of the instrument and one, for the upper hand thumb, on the back, and having a slightly tapered bore, with its widest end at the mouthpiece. It is thought that these instruments evolved in the 14th century, but an earlier origin is a matter of some debate, based on the depiction of various whistles in medieval paintings. To this day whistles -as used in Irish folk music- have six holes. The original design of the transverse flute (and its fingering) was based on the same six holes, but it was later much altered by Theobald Bhm.[citation needed] One of the earliest surviving instruments was discovered in a castle moat in Dordrecht, the Netherlands in 1940, and has been dated to the 14th century. It is largely intact, though not playable. A second more or less intact 14th century recorder was found in a latrine in northern Germany (in Gttingen): other 14th-century examples survive from Esslingen (Germany), Tartu (Estonia), and Nysa (Poland). There is a fragment of a possible 14th-15th-century bone recorder in Rhodes (Greece); and there is an intact 15th-century example from Elblag (Poland).[2] The earliest recorders were designed to be played either right-handed (with the right hand lowermost) or left-handed (with the left hand lowermost). The holes were all in a line except for the lowest hole, for the lower hand little finger. This last hole was offset from the center line, and drilled twice, once on each side. The player would fill in the hole they didn't want to use with wax. It is this doubled hole (not to be confused with the later double holes for semitones) which accounts for the early French name flute neuf trous. In later years, the right-hand style of playing was settled on as standard and the second hole disappeared.[citation needed]

Sejarah [Sunting] perakam Awal Dalaman salur-serunai mempunyai sejarah yang panjang. Contoh spesimen Umur

Besi, yang dibuat dari tulang kambing biri-biri, wujud di Leeds City Museum [29] Perakam benar dibezakan daripada serunai saluran dalaman yang lain dengan mempunyai lapan lubang jari (digunakan - lihat di bawah); 7 di hadapan instrumen dan satu untuk ibu jari tangan atas, di belakang, dan mempunyai jara sedikit tirus, dengan hujung yang paling luas pada pelekap mulut. Ia berfikir bahawa instrumen ini berkembang pada abad ke-14, tetapi asal yang lebih awal adalah perkara perdebatan beberapa, berdasarkan gambaran wisel pelbagai lukisan zaman pertengahan. Hingga ke hari ini wisel-seperti yang digunakan dalam kaum Ireland muzik-mempunyai enam lubang. Reka bentuk asal daripada seruling melintang (dan penjarian) telah berdasarkan enam lubang yang sama, tetapi ia kemudiannya telah banyak diubah oleh Theobald Bohm. [Perlu petikan] Salah satu instrumen yang terawal yang masih hidup ditemui dalam parit istana di Dordrecht, Belanda pada tahun 1940, dan telah bertarikh abad ke-14. Ia adalah sebahagian besarnya tidak terjejas, walaupun tidak bisa dibuka. Kedua yang lebih atau kurang utuh perakam abad 14 dijumpai di dalam tandas di utara Jerman (di Gttingen): contoh abad ke-14 yang lain terselamat dari Esslingen (Jerman), Tartu (Estonia), dan Nysa (Poland). Terdapat serpihan tulang perakam kemungkinan yang ke-14 abad ke-15 di Rhodes (Greece); dan terdapat utuh abad ke-15 contoh dari Elblag (Poland) [2]. Perakam terawal telah direka untuk dimainkan sama ada dengan tangan kanan (tangan kanan paling bawah) atau kidal (tangan kiri paling bawah). Lubang-lubang semua dalam satu barisan kecuali untuk lubang yang paling rendah, untuk jari tangan sedikit rendah. Ini lubang terakhir diimbangi dari garis tengah, dan yang digerudi dua kali, sekali pada setiap sisi. Pemain akan mengisi lubang mereka tidak mahu menggunakan dengan lilin. Ia adalah ini lubang dua kali ganda (tidak harus dikelirukan dengan lubang berganda untuk semitones) yang mencakupi nama seruling awal Perancis Neuf trous. Dalam tahun kemudian, gaya kanan bermain diselesaikan sebagai standard dan lubang kedua hilang. [

Renaissance recorders

The Renaissance

The recorder achieved great popularity in the 16th and 17th centuries. This development was linked to the fact that art music (as opposed to folk music) was no longer the exclusive domain of nobility and clergy. The advent of the printing press made it available to the more affluent commoners as well. The popularity of the instrument also reached the courts however. For example, at Henry VIII's death in 1547, an inventory of his possessions included 76 recorders.[30] There are also numerous references to the instrument in contemporary literature (e.g. Shakespeare[31] and Milton[32]).[33] During the Renaissance musical instruments were principally used in dance music and as accompaniment for voices. There are many vocal works with non-texted lines, which possibly were written for instruments. In addition, some vocal music was easily playable with instruments, chansons, for example. Nevertheless, composers also produced more and more works exclusively for instruments, often based on dance music. (e.g. the Lachrimae Pavans by John Dowland). Often they did not specify the instruments to use although some, such as Anthony Holborne, indicated that their music was suitable for the recorder.[34] However, even when the composer specified, for instance, viols, the music could successfully be played on recorders. A taste for ensembles of like instruments developed in this era, and so arose "consorts" (groups of musicians playing the same type of instrument) and the families of instruments of various sizes. The diversity of sizes in an instrument family allowed the consort to play music with a very large pitch range. Some of the well known Renaissance composers who wrote instrumental music, or whose vocal music plays well on recorders, were:[35]
Renaissance Perakam mencapai populariti yang besar dalam abad ke-16 dan 17. Perkembangan ini telah dikaitkan dengan fakta bahawa seni muzik (seperti yang bertentangan dengan muzik rakyat) tidak lagi domain eksklusif bangsawan dan kepaderian. Kemunculan mesin cetak yang dibuat ia boleh didapati dengan biasa yang lebih mewah juga. Populariti instrumen juga sampai ke mahkamah bagaimanapun. Sebagai contoh, pada kematian Henry VIII pada 1547, inventori harta benda itu termasuk 76 perakam. [30] Terdapat juga rujukan banyak dengan instrumen dalam kesusasteraan kontemporari (misalnya Shakespeare [31] dan Milton [32]). [33] Semasa Renaissance muzik instrumen dasarnya digunakan dalam muzik tarian dan sebagai iringan untuk suara. Terdapat banyak kerja-kerja vokal dengan bukan texted talian, yang mungkin telah ditulis untuk instrumen. Di samping itu, beberapa muzik vokal mudah bisa dibuka dengan instrumen, chansons, sebagai contoh. Walau bagaimanapun, komposer juga menghasilkan kerja-kerja yang lebih dan lebih semata-mata untuk instrumen, sering berdasarkan muzik tarian. (cth. Lachrimae Pavans oleh John Dowland). Sering mereka tidak menyatakan instrumen untuk menggunakan walaupun sedikit, seperti Anthony Holborne, menunjukkan bahawa muzik mereka adalah sesuai untuk perakam. [34] Namun, walaupun apabila komposer yang dinyatakan, misalnya, viols, muzik berjaya boleh dimainkan pada perakam. Rasa untuk berkumpulan. Instrumen seperti yang dibangunkan di zaman ini, dan sebagainya timbul "isteri" (kumpulan pemuzik yang memainkan jenis instrumen yang sama) dan keluarga instrumen pelbagai saiz. Kepelbagaian saiz dalam keluarga instrumen membenarkan isteri untuk bermain muzik dengan pelbagai padang yang sangat besar. Beberapa komposer Renaissance terkenal yang menulis muzik instrumental, atau yang vokal muzik memainkan baik pada perakam, adalah

Guillaume Dufay Johannes Ockeghem Josquin des Prez Heinrich Isaac Ludwig Senfl Orlando di Lasso William Byrd John Dowland Anthony Holborne

Polyphony was the dominant music style of the Renaissance, but composers also began to write chordal pieces. The Medieval custom of juxtaposing 2 or 3 different melodies coexisted with "imitative polyphony". Imitative polyphony uses only one melodic line, but breaks it in pieces and divides it among the different parts. One part plays the melody, then the other parts play it in their turns. The music of this epoch was characterized by complex improvised ornamentation.[36] Many instruments survive from this period, including an incomplete set of recorders in Nuremberg which date from the 16th century and are still partially playable.[citation needed] Similar to the Medieval recorders, and unlike the Baroque style recorders typically used today, Renaissance recorders have a wide, more or less cylindrical bore. They have powerful low notes (much more so than the Baroque recorders). The wide bore means that a greater quantity of air is required to play the instrument, but this makes them more responsive.[37] Many reproduction instruments, especially from the middle of the last century, can only be played reliably over a range of an octave and a sixth; but more and more makers are producing recorders capable of the full range that Ganassi[25] reports, and with his fingerings in tune throughout. When modern music is written for 'Ganassi recorders' it is this type of recorder which is intended. Historically there was, in truth, no such thing as the 'Ganassi' recorder as a distinct type; it was simply the ordinary Renaissance recorder played by a good player who understood the instrument.[38]
Polyphony gaya muzik yang dominan Renaissance, tetapi komposer juga mula menulis keping chordal. Adat yang Medieval juxtaposing 2 atau 3 melodi yang berbeza wujud bersama dengan "terdiri dr beberapa suara peniruan". Terdiri dr beberapa suara peniruan menggunakan hanya satu garis melodi, tetapi memecah ia berkeping-keping dan membahagikan antara bahagian-bahagian yang berlainan. Satu bahagian memainkan melodi, maka bahagian-bahagian lain memainkan dalam giliran mereka. Muzik zaman ini dicirikan oleh hiasan improvisasi kompleks. [36] Instrumen banyak bertahan dari masa ini, termasuk set perakam yang tidak lengkap di Nuremberg tarikh dari abad ke-16 dan masih sebahagian dimainkan. [Perlu petikan] Similar kepada perakam Zaman Pertengahan, dan tidak seperti perakam gaya Baroque yang biasanya digunakan hari ini, perakam Renaissance mempunyai yang luas, lebih atau kurang gerek silinder. Mereka mempunyai nota yang berkuasa rendah (lebih banyak lagi daripada perakam Baroque). Yang gerek luas bermakna bahawa kuantiti yang lebih besar udara diperlukan untuk bermain alat, tetapi ini menjadikan mereka lebih responsif. [37] Banyak instrumen pembiakan, terutamanya dari pertengahan abad yang lalu, hanya boleh dimainkan dengan pasti lebih pelbagai oktaf dan 1/6; tetapi lebih dan lebih banyak pembuat menghasilkan perakam mampu

julat penuh bahawa Ganassi [25] laporan, dan dengan fingerings selaras di seluruh. Apabila muzik moden ditulis untuk 'Ganassi perakam' ia adalah jenis ini perakam yang dimaksudkan. Sejarah ada, dalam kebenaran, tidak ada perkara seperti perakam 'Ganassi' sebagai jenis yang berbeza, ia adalah semata-mata perakam Renaissance biasa yang dimainkan oleh pemain yang baik yang memahami instrumen [38].

[edit] Baroque recorders

Several changes in the construction of recorders took place in the seventeenth century, resulting in the type of instrument generally referred to as Baroque recorders, as opposed to the earlier Renaissance recorders. These innovations allowed baroque recorders to possess a tone which was regarded as "sweeter" than that of the earlier instruments,[39] at the expense of a reduction in volume, particularly in the lowest notes, and a slightly reduced range. In the 18th century, rather confusingly, the instrument was normally referred to simply as Flute (Flauto) the transverse form was separately referred to as Traverso. In the 4th Brandenburg Concerto in G major, J.S. Bach calls for two flauti d'echo. The musicologist Thurston Dart mistakenly suggested that it was intended for flageolets at a higher pitch, and in a recording under Neville Marriner using Dart's editions it was played an octave higher than usual on sopranino recorders. An argument can be made that the instruments Bach identified as flauti d'echo were echo flutes, an example of which survives in Leipzig to this day. It consisted of two recorders in f' connected together by leather flanges: one instrument was voiced to play softly, the other loudly. Vivaldi wrote three concertos for the flautino and required the same instrument in his opera orchestra. In modern performance, the flautino was initially thought to be the piccolo. It is now generally accepted, however, that the instrument intended was some variant of the sopranino recorder.[40]
Baroque perakam Beberapa perubahan dalam pembinaan perakam berlaku pada abad ketujuh belas, menyebabkan jenis instrumen yang umumnya dirujuk sebagai perakam Baroque, menentang awal Renaissance perakam. Inovasi ini membenarkan perakam barok untuk memiliki nada yang dianggap sebagai "manis" daripada instrumen terdahulu, [39] pada perbelanjaan pengurangan dalam jumlah, terutamanya dalam nota yang paling rendah, dan pelbagai sedikit dikurangkan. Dalam abad ke-18, agak mengelirukan, instrumen biasanya disebut hanya sebagai Flute (Flauto) - borang melintang secara berasingan disebut sebagai Traverso. Dalam Concerto Brandenburg 4 dalam G major, J.S. Bach panggilan selama dua flauti d'echo. Ahli pengetahuan musik Thurston Dart tersilap mencadangkan bahawa ia bertujuan untuk flageolets di padang yang lebih tinggi, dan dalam rakaman di bawah Neville Marriner menggunakan edisi Dart dimainkan 1 oktaf lebih tinggi daripada biasa pada perakam sopranino. Hujah boleh dibuat bahawa Bach instrumen yang dikenalpasti sebagai flauti d'echo echo serunai, satu contoh yang masih hidup di Leipzig sehingga ke hari ini. Ia terdiri daripada dua perakam dalam f 'yang disambung bersama oleh kulit bebibir: satu instrumen telah disuarakan untuk bermain lembut, yang lain dengan kuat. Vivaldi telah menulis tiga concertos untuk yang flautino dan

memerlukan instrumen yang sama dalam orkestra opera beliau. Dalam melaksanakan moden, yang flautino pada mulanya, difikirkan menjadi pikolo. Ia kini diterima secara umum, bagaimanapun, bahawa suratcara yang dicadangkan adalah beberapa varian perakam sopranino

The decline of the recorder

The instrument went into decline after the 18th century, being used for about the last time as an otherworldly sound by Gluck in his opera Orfeo ed Euridice. Many reasons have been put forward for this decline. One possible reason is that the main flute innovators of the time, Grenser and Tromlitz et al., extended the transverse flute's range and evened out its tonal consistency, making it more appealing than the recorder. Also, the fixed relationship of the windway to the labium limits the range of dynamics and expression of the recorder, when compared with the transverse flute.[41] Another possible reason was the fact that music as an amateur pastime was declining in favour of the "professional" musician combined with the fact that composers began writing exclusively for professional ensembles. Other possible reasons include an apparent lack of sufficient professional players; a change in musical tastes; a lack of appreciation of the true nature of the recorder by composers; the high pitch of the instrument; the problems (for makers and players) of utilising the full chromatic range; and a perceived "bad reputation" of the instrument based on all these factors.
[42]

By the Romantic era, the recorder had been almost entirely superseded by the flute and clarinet. One variant of the recorder survived into the 19th Century concert halls, however: the keyed recorder known as the czakan or flute douce.[citation needed] The art of recorder making never completely died, though. Berchtesgaden Fleitl continue to be made to this day by Bernhard Oeggle, whose great-grandfather Georg learned his craft from Paul Walch (ca 1862-1873), the last of three generations of the Walch family of recorder makers.[43] Similarly, the careers of the Schlosser family of woodwind makers from the towns of Oberzwota and Zwota can be traced over five generations. Their founder was Johan Gabriel Sr who was active in the early 19th century; Rdiger, who seems to have been the last maker, died in 2005. Heinrich Oskar (18751947) made instruments sold by the firm of Moeck in Celle and helped to design their Tuju series of recorders.[44]
Penurunan perakam Instrumen menjadi mundur selepas abad ke-18, yang digunakan selama lebih kurang masa yang lalu seperti bunyi batin oleh Gluck dalam Orfeo opera ed Euridice. Banyak sebab telah dikemukakan untuk penurunan ini. Salah satu sebab mungkin ialah bahawa inovator seruling utama masa, Grenser dan Tromlitz et al., Meluaskan julat seruling melintang dan lebih terkawal konsisten yg mempergunakan gaya suara, menjadikannya lebih menarik daripada perakam. Juga, hubungan yang tetap windway kepada labium menghadkan julat dinamik dan ungkapan perakam, apabila dibandingkan dengan seruling melintang. [41] Satu lagi sebab mungkin adalah hakikat bahawa muzik sebagai hobi amatur telah menurun memihak kepada "profesional" pemuzik yang digabungkan dengan fakta bahawa komposer mula menulis secara eksklusif untuk berkumpulan. profesional. Sebab-sebab lain mungkin termasuk kurang jelas pemain profesional yang mencukupi; perubahan dalam citarasa muzik; kurang menghargai sifat benar perakam oleh komposer; padang

instrumen yang tinggi, masalah untuk pembuat dan pemain yang menggunakan pelbagai kromatik dan dianggap "reputasi yang buruk" instrumen berdasarkan kepada semua faktor-faktor ini [42] Oleh era Romantik, perakam telah hampir sepenuhnya digantikan oleh seruling dan klarinet. Satu varian perakam terselamat ke dalam dewan konsert ke-19 Abad, bagaimanapun: perakam dikunci dikenali sebagai czakan atau douce seruling [perlu petikan]. Seni perakam Membuatmu tidak pernah benar-benar meninggal dunia, walaupun. Berchtesgaden Fleitl terus dibuat hari ini oleh Bernhard Oeggle, yang besar-datuk Georg belajar kraf dari Paul Walch (sekitar 1862-1873), yang terakhir tiga generasi keluarga Walch pembuat perakam. [43] Begitu juga, kerjaya keluarga Schlosser pembuat woodwind dari bandar-bandar Oberzwota dan Zwota dapat dikesan sejak lima generasi. Pengasas mereka adalah Johan Gabriel Sr yang aktif dalam awal abad ke-19; Rudiger, yang seolah-olah telah menjadi pembuat terakhir, meninggal dunia pada tahun 2005. Heinrich Oskar (1875-1947) dibuat instrumen yang dijual oleh firma Moeck dalam Celle dan membantu mereka dihasratkan siri mereka daripada perakam. [44

Modern revival

The recorder was revived around the turn of the 20th century by early music enthusiasts, but used almost exclusively for this purpose. It was considered a mainly historical instrument. Even in the early 20th century it was uncommon enough that Stravinsky thought it to be a kind of clarinet, which is not surprising since the early clarinet was, in a sense, derived from the recorder, at least in its outward appearance. The eventual success of the recorder in the modern era is often attributed to Arnold Dolmetsch in the UK and various German scholar/performers. Whilst he was responsible for broadening interest beyond that of the early music specialist in the UK, Dolmetsch was far from being solely responsible for the recorder's revival. On the Continent his efforts were preceded by those of musicians at the Brussels Conservatoire (where Dolmetsch received his training), and by the performances of the Bogenhauser Knstlerkapelle (Bogenhausen Artists' Band) based in Germany. Over the period from 1890-1939 the Bogenhausers played music of all ages, including arrangements of classical and romantic music. Also in Germany, the work of Willibald Gurlitt, Werner Danckerts and Gustav Scheck proceeded quite independently of the Dolmetsches.[45] Thus the revival, far from being the work of one man, was the result of several strands coming and working together. Among the influential virtuosos who figure in the revival of the recorder as a serious concert instrument in the latter part of the twentieth century are Ferdinand Conrad, Kees Otten, Frans Brggen, Roger Cotte, Hans-Martin Linde, Bernard Krainis, and David Munrow. Brggen recorded most of the landmarks of the historical repertoire and commissioned a substantial number of new works for the recorder. Munrow's 1975 double album The Art of the Recorder remains as an important anthology of recorder music through the ages.

Another famous and popular performer is Michala Petri, who has toured extensively, recorded many discs of old and new pieces, and had quite a number of works written for her, including concertos by Malcolm Arnold and Richard Harvey. 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. 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, and consequently modern composers of great stature have written for the recorder, including Paul Hindemith, Luciano Berio, Jrg Baur, Josef Tal, John Tavener, Michael Tippett, Benjamin Britten, Leonard Bernstein, Gordon Jacob, Malcolm Arnold, Steven Stucky and Edmund Rubbra. The recorder is surprisingly often used in popular music, including that of groups such as The Beatles[46]; the Rolling Stones (see, for example, "Ruby Tuesday"); Yes, for example, in the song "I've Seen All Good People"; Jefferson Airplane (see Personnel as well as Grace Slick); Led Zeppelin (Stairway to Heaven); Jimi Hendrix[47]; Siouxsie and the Banshees[48]; Judy Dyble of Fairport Convention; and Mannheim Steamroller. Kebangkitan moden Perakam telah dihidupkan semula di sekitar pusingan abad ke-20 oleh peminat muzik awal, tetapi digunakan hampir secara eksklusif untuk tujuan ini. Ia telah dianggap sebagai instrumen terutamanya sejarah. Walaupun di awal abad ke-20, ia adalah luar biasa yang cukup bahawa Stravinsky fikir ia adalah sejenis klarinet, yang tidak menghairankan sejak klarinet awal, dari satu segi, yang diperoleh dari perakam, sekurang-kurangnya dalam Pulasan. Kejayaan akhirnya perakam dalam era moden sering disebabkan kepada Arnold Dolmetsch di UK dan ulama pelbagai Jerman / penghibur. Walaupun beliau bertanggungjawab untuk meluaskan kepentingan luar yang pakar muzik awal di UK, Dolmetsch adalah jauh dari semata-mata bertanggungjawab bagi kebangkitan semula perakam. Di Benua usaha beliau telah didahului oleh orang-orang pemuzik di Konservatori Brussels (mana Dolmetsch menerima latihan), dan oleh prestasi Knstlerkapelle Bogenhauser (Band Bogenhausen Artis) yang berpangkalan di Jerman. Sepanjang tempoh dari 1890-1939 Bogenhausers memainkan muzik semua peringkat umur, termasuk perkiraan muzik klasik dan romantik. Juga di Jerman, kerja Willibald Gurlitt, Danckerts Werner dan Scheck Gustav berjalan agak bebas daripada Dolmetsches lain. [45] Oleh itu kebangkitan, jauh dari kerja satu orang, adalah hasil daripada beberapa helai akan datang dan bekerja bersama-sama. Antara virtuosos berpengaruh yang memikirkan dalam kebangkitan perakam sebagai instrumen konsert yang serius di bahagian akhir abad ke-20 adalah Ferdinand Conrad, Kees Otten, Frans Brggen, Roger Cotte, Hans-Martin Linde, Bernard Krainis dan Munrow Daud. Brggen mencatatkan kebanyakan mercu tanda repertoir sejarah dan ditauliahkan sebilangan besar kerjakerja baru untuk perakam. Album 1975 dua munrow Seni Perakam kekal sebagai antologi yang penting muzik perakam sepanjang zaman. Satu lagi pelaku terkenal dan popular adalah Michala Petri, yang telah melawat meluas, mencatatkan cakera banyak keping lama dan baru, dan mempunyai cukup bilangan kerja-kerja

yang bertulis untuknya, termasuk concertos oleh Malcolm Arnold dan Richard Harvey. Carl Dolmetsch, anak daripada Arnold Dolmetsch, menjadi salah satu perakam pertama pemain pemain alat musik dalam tahun 1920-an, tetapi yang lebih penting dia mula komisen perakam bekerja dari komposer terkemuka pada zamannya, terutama bagi prestasi di festival Haslemere yang bapanya berlari. Pada mulanya sebagai hasil ini, dan kemudian sebagai hasil pembangunan sebuah sekolah Belanda perakam bermain diketuai oleh Kees Otten, perakam diperkenalkan kepada pemuzik yang serius sebagai instrumen solo pemain alat musik di Britain dan Eropah di utara, dan seterusnya moden komposer tubuh badan yang besar telah menulis untuk perakam, termasuk Paul Hindemith, Berio Luciano, Jrg Baur, Josef Tal, John Tavener, Michael Tippett, Benjamin Britten, Leonard Bernstein, Gordon Yakub, Malcolm Arnold, Steven Stucky dan Edmund Rubbra. Perakam menghairankan sering digunakan dalam muzik popular, termasuk kumpulan-kumpulan seperti The Beatles [46]; Rolling Stones (lihat, sebagai contoh, "Ruby Selasa"); Ya, sebagai contoh, dalam lagu "Saya Kelihatan Semua Orang Baik "Jefferson Airplane (lihat Personel serta Grace Slick); Led Zeppelin (Stairway kepada Syurga); Jimi Hendrix [47]; Siouxsie dan Banshees [48]; Dyble Judy Fairport Konvensyen; dan memaksakan Mannheim

Some modern music calls for the recorder to produce unusual noises, rhythms and effects, by such techniques as fluttertonguing and overblowing to produce multiphonics. David Murphy's 2002 composition Bavardage is an example, as is Hans Martin Linde's Music for a Bird. Among late 20th-century recorder ensembles, the trio Sour Cream (led by Frans Brggen), Flautando Kln, the Flanders Recorder Quartet and the Amsterdam Loeki Stardust Quartet have programmed remarkable mixtures of historical and contemporary repertoire. Piers Adams is a recorder player who has toured and recorded widely, as well as being involved in education. [edit] Use in schools

Plastic recorder (YAMAHA)

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. Orff's five-volume opus of educational music Music for Children contains many pieces for recorders, usually scored for other instruments as well.[49] Manufacturers of the era were able to make recorders out of bakelite and more modern plastics which made them cheap and quick to produce. Because of this, recorders became very popular in schools, as they are one of the cheapest instruments to buy in bulk.[50] They are also relatively easy to play at a basic level as they are pre-tuned. It is, however, incorrect to assume that mastery is similarly easylike other instruments, the recorder requires significant study to play at an advanced level.[citation needed] The success of the recorder in schools is partly responsible for its poor reputation as a "child's instrument". Although the recorder is ready-tuned, it is very easy to warp the pitch by over or under blowing, which often results in an unpleasant sound from beginners. Although it is usually associated with younger school children, some middle and high schools use them during music courses such as music theory.[citation needed]
Dalam pertengahan abad ke-20, komposer Jerman dan pendidik muzik Carl Orff dipopularkan perakam untuk kegunaan di sekolah-sekolah sebagai sebahagian program Orff-Schulwerk yang di sekolah-sekolah Jerman. Karangan 5-kelantangan Orff, Muzik muzik pendidikan untuk kanak-kanak keping banyak untuk perakam, biasanya menjaringkan bagi surat cara lain juga. [49] Pengilang era tidak mampu untuk membuat perakam keluar daripada bakelit dan lebih plastik moden yang dibuat mereka murah dan cepat untuk menghasilkan. Kerana ini, perakam menjadi sangat popular di sekolah, kerana ia adalah salah satu instrumen yang paling murah untuk membeli secara pukal. [50] Mereka juga agak mudah untuk bermain di peringkat asas kerana ia adalah pra-ditala. Ia adalah, bagaimanapun, tidak betul untuk menganggap bahawa penguasaan adalah sama seperti instrumen lain mudah, perakam memerlukan kajian penting untuk bermain pada peringkat tinggi. [Perlu petikan] Kejayaan perakam di sekolah-sekolah adalah sebahagiannya bertanggungjawab bagi reputasi miskin sebagai "instrumen kanak-kanak". Walaupun perakam bersedia diperkemaskan, ia adalah sangat mudah untuk meledingkan padang oleh lebih atau di bawah bertiup, yang sering menyebabkan bunyi yang tidak menyenangkan dari asas. Walaupun ia biasanya dikaitkan dengan kanak-kanak sekolah yang lebih muda, beberapa sekolah menengah dan tinggi menggunakan mereka semasa kursus muzik seperti teori muzik [perlu petikan

[edit] Early music re-enactment Another area where the recorder has gained popularity is history re-enactment. Since the recorder is a very old instrument, it is extremely suitable for playing Medieval and Baroque music. It is easy to carry, has a reasonably loud sound, and can be played both indoors and outdoors. Since many history re-enactors have already learned to play recorder in school, it can be easily adapted in early music.[citation needed]

[edit] Makers
The evolution of the Renaissance recorder into the Baroque instrument is generally attributed to the Hotteterre family, in France. They developed the ideas of a more tapered bore, bringing the finger-holes of the lowermost hand closer together, allowing greater range, and enabling the construction of instruments in several jointed sections. The last innovation allowed more accurate shaping of each section and also offered the player minor tuning adjustments, by slightly pulling out one of the sections to lengthen the instrument. The French innovations were taken to London by Pierre Bressan, a set of whose instruments survive in the Grosvenor Museum, Chester, as do other examples in various American, European and Japanese museums and private collections. Bressan's contemporary, Thomas Stanesby, was born in Derbyshire but became an instrument maker in London. He and his son (Thomas Stanesby junior) were the other important British-based recorder-makers of the early eighteenth century. In continental Europe, the Denner family of Nuremberg were the most celebrated makers of this period. Many modern recorders are based on the dimensions and construction of surviving instruments produced by Bressan, the Stanesbys or the Denner family.[51] Well-known larger contemporary makers of recorders include Angel (South Korea), Aulos (Japan), Moeck (Germany), Dolmetsch (England), Mollenhauer (Germany), Fehr, Huber, Kng (Switzerland) and Yamaha (Japan). Smaller workshops include names such as Takeyama, Von Huene, Rohmer, Adrian Brown, Prescott, Marvin, Cranmore, Amman, Beaudin, Blezinger, Boudreau, Netsch, Coomber, Grinter, Ehlert.[52] unting] muzik semula enakmen Awal Satu lagi kawasan di mana perakam telah meraih populariti adalah sejarah-enakmen semula. Sejak perakam adalah alat yang sangat tua, ia adalah sangat sesuai untuk bermain muzik Zaman Pertengahan dan Baroque. Ia adalah mudah untuk menjalankan, mempunyai bunyi yang munasabah kuat, dan boleh dimainkan dalam rumah dan di luar. Sejak sejarah banyak-enactors semula telah belajar untuk bermain perakam di sekolah, ia boleh dengan mudah disesuaikan dalam muzik awal. [Perlu petikan] [Sunting] Makers Evolusi perakam Renaissance ke dalam instrumen Baroque secara umumnya disebabkan kepada keluarga Hotteterre, di Perancis. Mereka membangunkan idea-idea bergerek yang lebih tirus, membawa lubang jari tangan terdalam rapat, membolehkan lebih luas, dan membolehkan pembinaan instrumen dalam beberapa bahagian bersendi. Inovasi yang terakhir dibenarkan lebih tepat pembentukan setiap bahagian dan juga menawarkan pelarasan pemain penalaan kecil, dengan sedikit menarik keluar salah satu bahagian untuk memanjangkan instrumen tersebut. Inovasi Perancis telah dibawa ke London oleh Pierre Bressan, set yang instrumen bertahan di Muzium Grosvenor, Chester, sebagai contoh yang lain di muzium Amerika, Eropah dan Jepun dan koleksi persendirian. Bressan, kontemporari, Thomas Stanesby, dilahirkan di Derbyshire tetapi menjadi pembuat instrumen di London. Dia dan anaknya (Thomas Stanesby junior) adalah penting lain yang berpangkalan di Britain perakam-pembuat awal abad ke-18. Di benua Eropah, keluarga Denner Nuremberg adalah pembuat yang paling diraikan tempoh ini.

Banyak perakam moden berdasarkan dimensi dan pembinaan instrumen yang masih hidup yang dihasilkan oleh Bressan, Stanesbys atau keluarga Denner. [51] Terkenal pembuat kontemporari yang lebih besar daripada perakam termasuk Malaikat (Korea Selatan), Aulos (Jepun), Moeck (Jerman ), Dolmetsch (England), Mollenhauer (Jerman), Fehr, Huber, kung (Switzerland) dan Yamaha (Jepun). Bengkel yang lebih kecil termasuk nama-nama seperti Takeyama, Huene Von, Rohmer, Adrian Brown, Prescott, Marvin, Cranmore, Amman, Beaudin, Blezinger, Boudreau, Netsch, Coomber, Grinter, Ehlert. [52]

[edit] Recorder ensembles

From top to bottom: bass, tenor, alto, descant (soprano) and sopranino recorders The recorder is a very social instrument. Many amateurs enjoy playing in large groups or in one-toa-part chamber groups, and there is a wide variety of music for such groupings including many modern works. Groups of different sized instruments help to compensate for the limited note range of the individual instruments. Four part arrangements with a soprano, alto, tenor and bass part played on the corresponding recorders are common, although more complex arrangements with multiple parts for each instrument and parts for lower and higher instruments may also be regularly encountered.[53] One of the more interesting developments in recorder playing over the last 30 years has been the development of recorder orchestras.[54] They can have 60 or more players and use up to nine sizes of instrument. In addition to arrangements, many new pieces of music, including symphonies, have been written for these ensembles.[55] There are recorder orchestras in Germany, Holland, Japan, the United States, Canada, the UK and several other countries.[56]

[edit] Fonts for fingering charts

Some fonts show miniature glyphs of complete recorder fingering charts, such as Gomez's recorder fonts in TrueType format. Because there are no Unicode values for complete recorder fingering charts, these fonts are custom encoded.
Perakam berkumpulan.] Dari atas ke bawah: bass, tenor, alto, tune (soprano) dan sopranino perakam Perakam adalah alat yang sangat sosial. Amatur banyak menikmati bermain dalam kumpulan yang besar atau dalam kumpulan ruang satu-sama-bahagian, dan terdapat

pelbagai jenis muzik untuk kumpulan itu termasuk kerja-kerja banyak moden. Kumpulan instrumen yang berbeza bersaiz membantu untuk memberikan pampasan bagi pelbagai nota terhad instrumen individu. Empat perkiraan sebahagian dengan soprano, alto, tenor dan sebahagian bass yang dimainkan pada perakam yang sepadan adalah biasa, walaupun perkiraan dengan bahagian-bahagian yang pelbagai untuk setiap alat dan bahagian bagi instrumen yang lebih rendah dan lebih tinggi yang lebih kompleks juga boleh sentiasa dihadapi. [53] Salah satu perkembangan yang lebih menarik dalam perakam bermain sejak 30 tahun yang lalu telah pembangunan orkestra perakam. [54] Mereka boleh mempunyai 60 atau lebih pemain dan menggunakan sembilan saiz instrumen. Sebagai tambahan kepada perkiraan, banyak keping baru muzik, termasuk simfoni, telah ditulis untuk ini berkumpulan. [55] Terdapat orkestra perakam di Jerman, Belanda, Jepun, Amerika Syarikat, Kanada, UK dan beberapa negara lain. [56 ] [sunting] Font untuk carta penjarian Sesetengah fon menunjukkan sistem tulisan kecil perakam carta penjarian yang lengkap, seperti fon perakam Gomez dalam format TrueType. Kerana tidak ada nilai Unicode untuk carta penjarian perakam lengkap, font ini adalah adat dikodkan.

[edit] References
^ Grove Music Online recommends that use of the word fipple should be abandoned because its meaning is confused. However, other sources (eg the Oxford Dictionary of Music) continue to use it. 2. ^ a b Lander, Nicholas. "The Recorder Homepage". 3. ^ For example, Eve O'Kelly describes how Frans Brggen "achieved worldwide recognition as a recorder virtuoso" in her book The Recorder Today, Cambridge University Press, 1990. ISBN 0-521-36681-X. p.62 4. ^ Jean Marc Bonard, "The Physicist's Guide to the Orchestra", 2001, Eur. J. Phys. 22 89-101 5. ^ a b Grove's Dictionary of Music(online Edition): 'Recorder' article, part 1: 'Nomenclature' 6. ^ E. Partridge: Origins: A Short Etymological Dictionary of Modern English, New York, 1958 7. ^ a b Bolton, Philippe. "How Recorders Work". Retrieved 2009-05-30. 8. ^ Edgar Hunt, "Fitting the Instrument to the Music"; Recorder and Music 7, no. 9, March 1983: pp227-228 9. ^ Jelle Hogenhuis, flute and recorder maker 10. ^ Anthony Baines: Woodwind Instruments and their History, Music Sales Ltd, 1991, ISBN 9780486268859, p.74: "The classic recorder is the treble. 'Flutes' and 'Flauti', in the works of Bach, Handel and their contemporaries, do not mean just 'recorders'; they mean 'treble recorders'" 11. ^ Andrew Mayes: "Carl Dolmetsch and the Recorder Repertoire of the 20th Century", Ashgate Publishing Ltd, 2003, ISBN 0754609685: p.241: "Prompted by the scarcity of solo music for bass recorder, Carl Dolmetsch has written this lively gavotte...";
1.

p.248: "There appears to be so small a repertoire for tenor recorder that I decided to write this 'plaint'." 12. ^ Hampshire Recorder Sinfonia guide to the recorder family 13. ^ Trevor Robinson, The Amateur Wind Instrument Maker, University of Massachusetts Press, 1981. ISBN 0-87023-312-2. See chapter 2, "Wooden instruments, materials and methods" 14. ^ a b c d e A Rowland-Jones, Recorder Technique ISBN 0-907908-75-6 15. ^ Edgar Hunt, The Recorder And Its Music 16. ^ Dolmetsch "Millennium" square-section recorders 17. ^ Anthony Rowland-Jones: Playing Recorder Sonatas: Interpretation and technique, Oxford University Press, 1992, ISBN 0198790015, 9780198790013. p.20: "Today's makers of 'Baroque' instruments mostly seem content to compromise at a'=415" 18. ^ John Mansfield Thomson, Anthony Rowland-Jones (editors): The Cambridge Companion to the Recorder, Cambridge University Press, 1995; ISBN 0521358167. p.178: "renaissance recorders [...] are typically built at high pitch (a'=466 ...)" 19. ^ Jacqueline Sorel, Baroque Alto Recorder after Stanesby, Sr http://www.sorelrecorders.nl/models/m05stanesbyE.html 20. ^ Jacqueline Sorel: Renaissance Recorders after Ganassi: http://www.sorelrecorders.nl/models/m01ganassiE.html 21. ^ David Jacques Way: Harpsichord Pitch and Transposition http://zhi.net/technical/pitch.shtml 22. ^ www.tapiasgold.com 23. ^ Kenneth Wollitz, The Recorder Book, Knopf, 1984. ISBN 0-394-47973-4. See Chapter 1, "Technique" 24. ^ Recorder fingering charts 25. ^ a b Ganassi, Opera intitula Fontegara, available in many modern facsimile editions 26. ^ Recorder fingerings 27. ^ a b A Rowland-Jones, Playing Recorder Sonatas Clarendon Press ISBN 0-19879001-5 28. ^ Walter van Hauwe, The Modern Recorder Player, Volume III, Schott, 1992. ISBN 0-946535-19-1. See Chapter 3, "Alternative Fingerings" 29. ^ Oxford Companion to Music. See section 1 of "Recorder Family" article 30. ^ Oxford Companion to Music. see section 2 of the article on "Recorder Family" 31. ^ Hamlet, Act III scene ii, Hamlet: "Ah, ha! Come, some music! Come, the recorders!" 32. ^ Paradise Lost, Book I: "Anon they move/ in perfect phalanx to the Dorian mood/ flutes and soft recorders" 33. ^ For an extensive database of literary references to the recorder see here 34. ^ Anthony Holborne, Pavans, Galliards, Almains and other short Aeirs, both grave and light, in five parts, for Viols, Violins, recorders or other Musicall Winde Instruments, published in 1599 35. ^ Kenneth Wollitz, The Recorder Book, Knopf, 1984. ISBN 0-394-47973-4. See Chapter 8, "Repertory of the Recorder" by Colin C. Sterne. 36. ^ The Cambridge Companion to the Recorder, p.15: "By far the largest amount of space in [Ganassi's treatise published in 1535] is devoted to details about ornamentation,

which suggest a high level of extravagant embellishment in a remarkably rhythmically free manner..." 37. ^ Trevor Robinson, The Amateur Wind Instrument Maker, University of Massachusetts Press, 1981. ISBN 0-87023-312-2. See chapter 4, which includes a description of the construction and sound of Renaissance recorders. 38. ^ Adrian Brown, The Ganassi recorder: separating fact from fiction., American Recorder 47(5): 11-18, 1984. 39. ^ Jonathan Wainwright and Peter Holman, From Renaissance To Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century, Ashgate Publishing, Ltd, 2005. ISBN 0-7546-0403-9 40. ^ Eleanor Selfridge-Field, Vivaldi's esoteric instruments, Early Music 6 (1978), 332-339. (RV443 and RV444 have a compass c' - f , while perplexingly RV445 has lowest note e.) 41. ^ Donald Murray et al. Musical Instruments: History, Technology, and Performance of Instruments of Western Music, Oxford University Press, 2004. ISBN 0198165048. p.122 42. ^ Waitzman, Daniel: The Decline of the Recorder in the 18th Century. Published in American Recorder 8 no. 2 (Spring 1967). pp.47-51 43. ^ MacMillan, D. (2007). The Recorder 1800-1905. Recorder Magazine 27(4): 126131. 44. ^ Tarasov, N. (2005). Bahn frei! Kreative Blockkonstruktionen in 19 Jahrhundert. Windkanal 4: 14-17. 45. ^ Eve E. O'Kelly, The Recorder Today, Cambridge University Press, 1990. ISBN 0-521-36681-X. Chapter 1: The Revival 46. ^ For example, in Fool on the Hill, according to and it is also used by Dido. The Recorder Home Page maintained by Nicholas S. Lander 47. ^ For example, in the song If 6 Was 9, according to The Recorder Home Page maintained by Nicholas S. Lander 48. ^ For example in the song Green Fingers, according to Discogs.com's page on the album A Kiss in the Dreamhouse 49. ^ Regner, Hermann. Orff-Schulwerk Floetenbuch, Preface. Translated by I.M. Rushworth. http://www.vosa.org/paul/sales_folder/orff_recorder.htm 50. ^ Margo Hall, Teaching Kids Recorder, iUniverse, 2005. ISBN 0-595-36743-7 51. ^ Information about makers is summarised from sleeve notes of David Munrow's The art of the Recorder, 1975, written by Edgar Hunt, then Head of Renaissance and Baroque music at Trinity College of Music, London 52. ^ A comprehensive database of current recorder makers worldwide is available here. 53. ^ http://encyclopedia2.thefreedictionary.com/Recorder+flute 54. ^ http://www.google.com/search? q=recorder+orchestras&hl=en&prmd=imvns&tbm=isch&tbo=u&source=univ&sa=X&ei= Q9sBT4v0Io32sQLnhumzAQ&ved=0CEUQsAQ&biw=1333&bih=645 55. ^ http://www.free-scores.com/centre-uk.php?CATEGORIE=130 56. ^ See, for example, Dutch Recorder Orchestra Praetorius, Recorder Orchestras in Japan, Mid-Peninsula Recorder Orchestra, Scottish Recorder Orchestra and SRP National Youth Recorder Orchestra