4/11/2023 0 Comments D note recorder![]() Also remember that as in all vocal music you need to give the player some chance of correctly pitching the note you want. Also you need to consider how much voice you want since a very strong voice sounds quite different to an ethereal one. Male and female voices can have quite different effects. singing in counterpoint is possible but tricky. ![]() ![]() Singing in unison or octaves is quite easy and effective. Singing into the instrument. This works well. Multiphonics work especially well when used in ensembles. ![]() Notation can either be chordal notation indicating two main notes, or just a square headed note of the base with an harmonic sign. It is best to check with a recorder player before using these. Multiphonics. The recorder does these very well (probably better than any other wind instrument). As a general rule notes with accidentals will have a slightly different timbre and be slightly weaker than those without.Īn important thing to remember! Recorder players (like all wind players) have to breathe.Rapid movement from other notes is however fairly easy. Also passage work that involves moving between the lowest F and F# and G and G# on a treble (C and C# and D and D# on a C instrument) is extremely difficult and should be avoided.On a treble the lowest F# and G# (on a C instrument C# and D#) are quite weak sounding notes that do not speak as quickly as other ones.Fast passage work in this part of the range can be very awkward and should be avoided. Only use this extended range for solo works and only if necessary. On most instruments (not sopranino) the range can be extended fairly easily to 2 octaves and a fifth (and sometimes a bit more).On some tenors and basses the lowest semitone (C# on tenor and F# on bass) is not possible and should be avoided unless it is absolutely necessary, particularly in consort music.The highest F# on F instruments or C# on C instruments is a bit awkward to get and should be avoided if possible.(Garklein range is an octave and a sixth C to A).Do not exceed this range for consort music (unless you know the consort). This would be the treble from F (above middle C) to G (4 ledger lines). The safe range for most recorders is 2 octaves and a note.This refers to their lowest note and does not imply that they are transposing instruments. Recorders are sometimes described as being in F or C.Note that a considerable number of people find the high tessitura of the smaller instruments (descant and smaller) quite irritating and you might therefore gain greater audience acceptance if you use the larger instruments.'Recorder' without any qualification means the treble.Contrabass (lowest note F below bass clef).ĭo not write for these instruments unless you have checked that they are available!.Great Bass (lowest written note C below bass clef but sounds an octave higher).Sitting next to someone playing this instrument can be like having nails driven into your head. Garklein Flautlein is an octave higher than the descant.Several other instruments are occasionally available. Bass (lowest written note F below the bass clef but sounds an octave higher).Treble (or alto) (lowest note F above Middle C).Descant (or Soprano) (lowest written note Middle C sounding an octave higher).Sopranino (lowest written note F above Middle C sounding an octave higher).Unless specified with a slur a recorder player should tongue everything but this covers a very wide range of articulations. Since most players will use a range of articulations quite normally it is probably unnecessary to overdo the articulation marks: only show those that really are important. As a general rule keep the number of dynamics down.Īccents are usually done with the tongue and should not imply a sforzando which is likely to be out of tune. Dynamics written into a score will be interpreted largely as indications of sound quality. Recorder players will give the illusion of dynamics through articulation. As a consequence long flowing passages with crescendos and diminuendos (which sound really good on flutes for instance) are not very idiomatic for the recorder. This is a problem particularly if you are using more than one instrument and/or playing with instruments with more stable pitch. If you try to play it very loudly or very softly it tends to go out of tune. The recorder does not have a great range of dynamics. ![]() Music that works well on other wind instruments may not work as well on the recorder (and of course vice versa). When writing for the recorder (as for any other instrument) it is important to remember its strengths and weaknesses. A Composer's Guide to Writing for the Recorder Written by Benjamin Thorn ![]()
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