"truly a benchmark of what the recorder can be"

Thoughts on the Recorder - Table of Contents

Familiarize yourself with the structure of the book

 

 

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."

Check out 36 free online videos!

"An absolute must" -- Bart Spanhove

"Recommended reading for every musician...Delightful!" -- Luc Ponet

 

Get ebook for 20 EUR.
download immediately both EPUB (Ibook) and PDF files.

(After paying, click return to website for downloading)

 

Get printed book (400 pages) for 30 EUR + shipping.

Buy printed book

 

Be sure to check out the following:
Read more, Introductory Video, Video playlist, Reviews

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