"truly a benchmark of what the recorder can be"

Thoughts on the Recorder - Video Playlist:

A detailed list of all the linked video illustrations

 

 

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 25 EUR.
download immediately both EPUB (Ibook) and PDF files.

 

Get printed book (400 pages) for 35 EUR + shipping.

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Be sure to check out the following:
Read more, Introductory Video, Table of Contents, Reviews

Find 'Video Playlist' below

 

Videos 1 to 8 are part of the first chapter: Choosing and Caring for your recorder

Videos 9 to 20 are part of the second chapter: Recorder Technique

Videos 21 to 35: third chapter: interpretation of Different Historical Styles

Fourth chapter: Food for Thought (no videos: book only)

feel free to download the video playlist in excell format or in pdf format

 

FIND THE VIDEOS ON MY YOUTUBE CHANNEL:
www.youtube.com/geertvangele (click here to go directly to the playlist of the videos)

 

The pages in the column 'book page' refer to the printed book

VIDEO#
TITLE / LINK
BOOK PAGE
SUBJECT / LINK
TIME STAMP VIDEO
0
Introductory video
14
FIRST CHAPTER
1
Choosing level 1
29
1/1
29
Same brand, diff. wood 2:15
1/2
30
Same wood, diff. Makers 4:35
1/3
30
Technical difficulties checking, incl. tuning 6:07
1/4
31
Choose softwoods 8:39
2
Choosing level 2
36
2/1
36
High vs low pitched 2:40
2/2
37
Differences btw colors low pitch 6:17
3
Choosing level 3
40
3/1
41
Diff. btw level 2 & 3 handmades 2:22
4
Breaking in your recorder
42
4/1
43
Diff. btw similar instr. '70's vs new 1:55
4/2
44
Breaking in: long notes 5min/day + warming up 6:06
4/3
45
Long notes explained 6:48
4/4
45
Further breaking in 8:18
4/5
50
Block is too high? 10:23
5
Maintenance kit
52
5/1
54
TLC for recorders 0:42
5/2
52
Maintenance kit 3:14
6
Oiling
54
6/1
61
2 oiling methods 2:30
6/2
61
How to oil 3:46
7
Cleaning
70
7/1
71
Wiping the recorder 0:35
7/2
63
Knocking out the block 2:00
7/3
65
Block too tight 3:50
7/4
74
Cleaning windway 5:00
7/5
79
Anti condens 6:42
7/6
81
Declogging plastics 7:57
7/7
82
Threading a tap 8:58
8
Quick tuning fixes
83
8/1
89
Octaves 1:35
8/2
92
Applying wax 3:40
8/3
92
tuning F-Fis-G 5:06
8/4

98

Lower overall pitch 7:32
SECOND CHAPTER
9
Posture / Fingers
103
9/1
103
General posture 0:39
9/2
110
Finger position 3:16
9/3
111
Finger movements 3:38
9/4
112
Active fingers 3:57
9/5
114
Thumb position 4:50
9/6
116
Bottom notes execution 5:19
10
Weight distribution / Tonguing
10/1
117
Distributing the weight 0:40
10/2
118
Finding good weight distribution 1:06
10/3
121
Support finger 2:50
10/4
123
Tonguing 3:19
10/5
123
Basic tonguing 3:34
10/6
125
Stopping the sound 7:28
11
Breathing / Legato
127
11/1
128
Different kinds of breathing 0:37
11/2
130
How to breathe low 2:59
11/3
132
Legato playing 5:51
11/4
133
Sounding effect of legato 6:14
11/5
133
Representation of legato 7:23
11/6
135
Exercise with voice 8:54
11/7
135
Crescendo and decrescendo 9:55
11/8
136
Applying a dance feel 11:40
12
Basic coordination
137
12/1
137
Simple remedy 0:38
12/2
138
Practice fingers seperately from rhythm 2:05
12/3
140
Exercise for more complex rhythms 5:10
12/4
142
Practicing faster passages 7:50
13
Trills / Double tonguing
13/1
147
Trill exercise 0:44
13/2
149
Double tonguing DuuKuu 2:10
13/3
152
Double tonguing DuuDl' 5:44
13/4
153
Double tonguing TuuRuu 8:38
13/5
154
Triple tonguing 10:53
14
Explosive tonguing / top notes / accents
14/1
154
Explosive tonguing 0:37
14/2
157
Explosive double tonguing 6:33
14/3
158
Top notes / pinching technique 7:30
14/4
160
Breathing accents 10:22
15
Advanced coordination
161
15/1
162
General guidelines 0:35
15/2
164
7 step exercise 3:00
15/3
170
3 step exercise 18:00
16
Shading and pulling away
171
16/1
172
Shading and pulling away 0:38
16/2
172
Glissando 1:36
16/3
172
Shading 2:10
16/4
172
Fingers 4&5 2:46
16/5
174
Little finger 7 4:52
16/6
174
Pulling away 7:19
16/7
175
Glissando exercise 9:33
17
Basic sound production
176
17/1
177
Underblowing 0:38
17/2
177
Overblowing 1:04
17/3
177
Variety in breath pressure 1:31
17/4
178
Blowing in cheeks 2:38
17/5
179
Projecting the sound 4:54
17/6
180
The center of the sound 6:40
18
Advanced sound production: stage 1
181
18/1
181
Breath support 0:50
18/2
184
Notes in a curve 3:23
18/3
188
Practicing a slow melody 8:56
18/4
189
Defining overtone rich area 11:18
18/5
190
Finetuning projecting the sound 12:47
18/6
192
Singing with your inner voice 14:27
19
Vibrato
196
19/1
197
Exercise register breaks 0:36
19/2
197
Altering frequency / amplitude 2:35
19/3
198
Practice from slow to fast 3:21
19/4
198
Practice on long notes in music 4:04
19/5
199
Practice faster vibratos in music 4:26
19/6
199
More control - vibrato moves in chest area 4:42
19/7
199
Difference with throat vibrato 5:15
20
Advanced sound production: stage 2
200
20/1
203
Detecting the sine wave sound 1:30
20/2
204
Feeding the sine wave sound 2:49
20/3
204
Encountering gritty sounds 4:35
20/4
206
Applying shadings / vibratos 8:03
20/5
206
Example of max. resonance 9:51
20/6
207
Staying in tune 10:05
THIRD CHAPTER
21
Reading from historical scores
216
21/1
216
Two voices simulate chords 2:14
21/2
217
Example of fac simile print 4:06
21/3
217
Example of manuscript 4:20
21/4
218
Fac simile edtions after 1680: differences with modern notation 4:36
21/5
219
Fac simile editions before 1680: differences with modern notation 6:15
22
Interpretation through analysis
225
22/1
226
Working from bigger sections towards small details 1:09
22/2
226
Tips for working on analysis 2:44
22/3
227
Cross reference parts 5:38
22/4
228
Understanding the meaning of each segment of the text 7:29
22/5
230
Assign different characters to each segment 9:02
22/6
230
Example of storyline in a piece 9:48
23
General interpretation of fast movements

240

23/1
241
Playing around with different articulations 1:36
23/2
241
Choosing the articulations on the spot 2:51
23/3
242
Adding explosive tonguing and breathing accents 3:51
24
Interpreting Italian and German high Baroque
246
24/1
248
Finding the correct tempo 0:54
24/2
249
Baroque vs romantic interpretation 2:10
24/3
250
Contrasting small segments in melody 2:22
24/4
250
Working with pulses, stressing certain notes 3:52
24/5
251
Execution of trills 5:27
24/6
251
Working with rubato 6:28
25
Interpreting Italian early Baroque
253
25/1
254
Early baroque instruments vs. late baroque instruments 0:54
25/2
255
Keeping a steady tactus throughout the piece 4:53
25/3
256
Having a close connection with the bass 5:59
25/4
257
Being aware of the harmonic color 7:28
25/5
257
The measure of three 8:06
25/6
259
Rhythmic liberties 11:20
25/7
261
Accenti and passagi 15:38
25/8
262
Trills 16:13
26
Interpreting rococo music
263
26/1
263
Elaborateness in contrast and effect 1:28
26/2
264
Baroque vs Rococo repertoire of Telemann 4:20
26/3
265
Searching for typical Rococo style elements 8:41
27
Interpreting tonal contemporary repertoire
265
27/1
267
Baroque interpretation vs. tonal contemporary repertoire 1:23
27/2
267
Carrying the line 2:40
27/3
268
Vibrato 4:00
27/4
269
Understanding the piano part: what to look for in the score 4:50
27/5
270
Example of baroque interpretation vs. tonal contemporary 6:51
28
Interpreting French baroque music
271
28/1
273
Different dance movements explained 0:55
28/2
274
Different characterizations explained 4:33
28/3
275
The French harmony 10:39
28/4
275
Dragging moments vs. urging forward 12:59
28/5
275
Searching for a natural dance motion 17:05
28/6
276
Ornaments 17:53
28/7
277
French vs. Italian style 18:34
28/8
278
Steps to learn French interpretation 22:13
28/9
279
Learning order of French ornaments
27:19
28/10
282
Difference between carrying line in French baroque vs. tonal contemporary
36:22
29
Interpreting English baroque music
282
29/1
284
How French should this repertoire be played? 1:44
29/2
284
Trills 2:25
29/3
285
Different dance movements explained 4:25
29/4
286
The ground 9:36
30
Experimental contemporary music
287
30/1
292
Example of a instructions page 1:09
30/2
292
Freedom of interpretation 2:50
30/3
294
Improvisational character 4:30
31
Jazzy repertoire
295
31/1
296
Learning to play jazz inequality 1:46
31/2
297
Jazz phrasing 4:26
31/3
297
Playing on top of the beat 5:46
31/4
298
Playing on the back of the beat 6:28
31/5
298
Playing on the backbeat (second and fourth beat) 7:22
31/6
299
Jazzy ornaments 8:19
31/7
299
Learning different jazz styles 9:50
32
Renaissance repertoire: how to familiarize yourself with its music
300
32/1
302
Starting from homophonic chansons 0:35
32/2
302
Dances by Holborne 1:30
32/3
302
Early baroque pieces, written in the renaissance idiom 1:40
32/4
303
Search for harmony 2:43
32/5
304
Example of analizing a consort piece 4:08
32/6
304
Text interpretation starts to appear in beginning of 16th century 7:16
32/7
Example of text colorations 8:50
33
Renaissance repertoire: some thoughts on playing in consort
305
33/1
305
Mixing and matching instruments 0:34
33/2
306
Baroque idiom vs. renaissance idiom 1:20
33/3
306
Singing quality of individual voices 3:23
33/4
306
Playing with rubato 4:22
33/5
307
Playing shorter notes in the bass 5:09
33/6
307
Playing shorter notes in inner voices 6:30
33/7
307
Seperating leaps 7:49
33/8
308
Steady tactus 8:54
33/9
308
Stronger bass with well defined attacks 9:22
33/10
308
Softer soprano 11:11
33/11
309
Syncopations 11:45
33/12
309
Searching for pure tuning 14:10
33/13
310
Taking advantage of text underlay 14:48
33/14
311
Starting and stopping an ensemble 19:05
34
Renaissance repertoire: notation, diminutions
312
34/1
312
Overview of different early notations 0:33
34/2
313
Diminutions 1:47
34/3
314
Example of passagi 3:18
35
Medieval repertoire
316
35/1
316
2 principles we adhered to 0:58
35/2
317
Example of tempo with sad poem 2:30
35/3
318
Tactus and disconnect between text and music 2:57
35/4
318
Example of gentle swaying feeling 4:13
35/5
319
End of 15th century: range extends downward 5:40
35/6
319
Tenor should be the strongest voice 7:08
35/7
320
Countertenor is interesting rhythmically, but optional 8:40
35/8
322
Expressivity and medieval repertoire 11:04
35/9
323
Disconnect between tempo and atmosphere 12:30
35/10
324
Gentle dance character 13:32
35/11
325
Subtle articulations 16:11
35/12
325
Imitate text on the recorder 16:23
35/13
325
Short, small vibrati 16:44
35/14
326
Comparing to medieval paintings 17:07
35/15
326
Finding a contemporary parallel 18:24
35/16
328
Medieval recorders 20:50