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Thoughts on the Recorder - Table of Contents

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Thoughts on the Recorder"A personal reflection on my life with the recorder: what I have learned, how I teach it, and my overall approach to music."

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Find 'Table of Contents' below "

" Page numbers differ slightly in the printed version

 

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . 5
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6


Chapter I: Choosing a recorder and caring for it . . . . 17
1. Factory or handmade . . . . . . . . . . . . . . . . . . . . 19

a. beginner: level 1 . . . . . . . . . . . . . . . . . . . . 20
b. advanced: level 2 . . . . . . . . . . . . . . . . . . . 27
c. (pre)professional: level 3 . . . . . . . . . . . . . . . .32
2. Breaking in a recorder . . . . . . . . . . . . . . . . . . . 34
3. Maintenance kit . . . . . . . . . . . . . . . . . . . . . 44
4. Why oil? . . . . . . . . . . . . . . . . . . . . . . . . . . 46
5. How to oil your recorder . . . . . . . . . . . . . . . . . . 51
6. Cleaning the recorder . . . . . . . . . . . . . . . . . . . . . . 63
7. Quick tuning fixes . . . . . . . . . . . . . . . . . . . . . . . . 78

a. narrowing octaves . . . . . . . . . . . . . . . . . . . . . 85
b. tuning middle F-F#-G (alto) . . . . . . . . . . . . . . 89
c. tuning the lowest notes F-F#-G-G#-A (alto) . . . . . . . 92
d. tuning some other notes . . . . . . . . . . . . . . . . 93

 

Chapter II: Recorder technique . . . . . . . . . . . . 97
1. Basic technique . . . . . . . . . . . . . . . . . 98

a. general posture . . . . . . . . . . . . . . . . . 99
b. finger movement . . . . . . . . . . . . . . . . 108
c. supporting the weight . . . . . . . . . . . . . . . . 116
d. tonguing . . . . . . . . . . . . . . . . . . . . . . . 122
e. breathing . . . . . . . . . . . . . . . . . . . . . 127
f. legato playing . . . . . . . . . . . . . . . . 133
g. basic coordination . . . . . . . . . . . . . . . . . 138
2. Advanced technique . . . . . . . . . . . . . . . . . . . . . 149
a. trills . . . . . . . . . . . . . . . . . . . . . . . . 149
b. double tonguing. . . . . . . . . . . . . . . . . .151
c. triple tonguing. . . . . . . . . . . . . . . . . . . . . 157
d. explosive tonguing . . . . . . . . . . . . . . . . . . . . 158
e. executing top notes . . . . . . . . . . . . . . . . . 162
f. breathing accents . . . . . . . . . . . . . . . . . . 165
g. playing without tonguing . . . . . . . . . . . . . . . . . 167
h. advanced coordination . . . . . . . . . . . . . . . 168
i. shading and pulling away . . . . . . . . . . . . . . . . 175
3. Different stages of sound production . . . . . . . . . . . . . 180

a. basic sound production . . . . . . . . . . . . . . . . 181
b. advanced stage no.1 . . . . . . . . . . . . . . . . . 186
c. vibrato . . . . . . . . . . . . . . . . . . . . . . 202
d. advanced stage no. 2. . . . . . . . . . . . . . . . . 207

 

Chapter III: Thoughts on interpretation . . . . . . . . . 217
1. Starting with interpretation . . . . . . . . . . . . . . . 228

a. first two steps to start . . . . . . . . . . . . . . . . 229
b. interpretation through analysis . . . . . . . . . . . 230
c. general interpretation of fast movements . . . . . . . 246
2. Interpreting different styles . . . . . . . . . . . . 249
a. Italian and German high baroque . . . . . . . . . . 253
b. Italian early baroque . . . . . . . . . . . . . . 261
c. rococco . . . . . . . . . . . . . . . . . . . 273
d. contemporary tonal . . . . . . . . . . . . . . 276
e. French baroque . . . . . . . . . . . . . . .282
f. English early baroque . . . . . . . . . . . . 294
g. experimental contemporary . . . . . . . . . . . . 300
h. jazzy . . . . . . . . . . . . . . . . . . . . 309
i. renaissance . . . . . . . . . . . . . . . 314
j. medieval . . . . . . . . . . . . . . . . . . 331

Chapter IV: Thoughts on . . . . . . . . . . . . . . . 344 (no videos: book only)
1. Playing musically vs. expressively . . . . . . . . . . . . . 345
2. Listening to music . . . . . . . . . . . . . . . . . . . . . . 350
3. A technique for playing musically . . . . . . . . . . . . 354
4. Intonation and playing in tune . . . . . . . . . . . . . . . . 357
5. Frans Br├╝ggen revisited . . . . . . . . . . . . . . . . . . . . 367
6. Historical tuning and single holes . . . . . . . . . . . . . 373
7. Being a consort player . . . . . . . . . . . . . . . . . . . 378
8. Being a solo player . . . . . . . . . . . . . . . . . . . . 379
9. Competitions and reviews . . . . . . . . . . . . . . . . . . 380
10. Stage fright . . . . . . . . . . . . . . . . . . . . . . 384
11. Recording the recorder . . . . . . . . . . . . . . . . . . 387
12. Favorite quotes . . . . . . . . . . . . . . . . . . . . . . . 395

Epilogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Colofon . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . 398