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Recorder Thread!


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#3586 anacrusis

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Posted 10 July 2019 - 12:27

drat, I'd forgotten privacy settings, will try again :) 

66466052_10219543878248928_2266114939682


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#3587 elemimele

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Posted 10 July 2019 - 17:51

Maizie, I can see the charm of the special recorder for that. Anacrusis, thanks so much for posting the cartoon, it's great! I'm guessing, then, that it's just a matter of planning and practice... keep trying, and eventually it will be possible.

I am, whimsically, wondering about recorder-player's trousers with a spongy blob covered in smooth, hole-sealing leatherette or similar, such that on applying recorder to knee, in event of misjudging, there is some buffering?


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#3588 andante_in_c

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Posted 10 July 2019 - 18:13

Having been used to the knee-lifting required to stop the bell of my treble I nearly lost my front teeth the first time I tried it with my 415 voice flute as I had completely forgotten to allow for the extra length. :rolleyes:

 

I do remember being very careful about my clothes for my Grade 8 to avoid the problem anacrusis mentions. The examiner didn't bat an eyelid when I stood on one leg, which was good. :D


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#3589 elemimele

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Posted 10 July 2019 - 18:22

fo you can alwayff recognife a recorder player who'f learning how to play thofe notef?


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#3590 anacrusis

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Posted 10 July 2019 - 21:10

hehehe, that sounds like another extended technique tongue.png


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#3591 elemimele

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Posted 15 July 2019 - 06:13

Well, I've accidentally bought another cheap plastic recorder. I found another old plastic Dolmetsch in a 2nd-hand place. I do find Dolmetsch interesting; I bought it because of their place in the history of the instrument and its rebirth into school music. Mass-produced Dolmetsch plastic recorders are a weird mix of contrasts. The Dolmetsch's were professional makers of historical instruments, big in the rediscovery of historical performance, and yet these recorders happily disregard authentic construction, with their big, letterbox mouths. They look like nothing-special, cheap recorders, but again with this one I've been shocked by their quality when played. They are designed by a genius. This descant is about 1cm shorter than an aulos descant, but is quite in tune with it. It plays easily all the way from bottom C to top d, even the top c being an easy note. It's made in a fairly heavy black plastic with ivory-coloured mouthpiece (which, oddly, also forms the top of the windway, so there's a sort of ivory-coloured tab sticking down below the mouthpiece into the mouth, which looks a bit cheap and weird, but obviously isn't doing it any harm). It has the usual Dolmetsch odd arrangement of a long tenon into the lowest joint, with a diagonal slot cut out of it to accommodate the right-hand little-finger hole. Really, surprisingly playable. I bought it as a curio, but I may actually use it. 


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#3592 Zixi

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Posted 16 July 2019 - 06:18

Nice! It sounds like a little treasure!  I agree over Dolmetsch. My very first recorder aged about 9 or 10 was a Dolmetsch - we learned a few notes in the girl's cloak-room as there wasn't anywhere else to teach us and the lessons were rapidly discontinued. There was a considerable gap between then and when I started learning seriously. But I retain a soft spot for Twinkle, Twinkle Little Star and London's Burning! Dolmetsch feels like part of the history, especially in the UK where as you say it was responsible for the revival. There must be lots of people around my age who remember the white and red box!

 

 
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#3593 elemimele

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Posted 17 July 2019 - 08:51

My school was an aulos school, so we remember the yellow cloth sleeves! Despite being an avid aulos fan, I have to say the Dolmetsch is probably the better school instrument. We are lucky to have been born into a world just after the revival.


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#3594 Maizie

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Posted 17 July 2019 - 09:22

I had a Dolmetsch tenor, bought for me when I was in the last year or two of primary school.  On advancement to secondary school, it was up for ridicule for not looking like all the other recorders.  When I then acquired a treble, I was told to ensure I got an Aulos to 'match everybody else'.

As much as I loved my 'funny' tenor, I always assumed it was because I'd been bought a cheap'n'nasty thing instead of the 'normal' one.  Was deeply chagrained later to discover I'd had something much nicer than I'd ever realised.  When I ended up getting my old recorders out of my mother's loft, I was disheartened to find it no longer in tune with itself (although delighted I was able to work that out for myself).  At the time, Dolmetsch would give you a 50% discount on a Nova plastic instrument if you sent them in a same size instrument (any brand, any condition).  So I traded in my old Dolmetsch for a new Dolmetsch (and subsequently upgraded to a boxwood Dolmetsch at the early music festival - boxwood was no longer on the price list in that range, so they sold it to me for the price of the next wood down :o )


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#3595 Zixi

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Posted 20 July 2019 - 08:53

The Aulos/Dolmetsch thing sounds a bit like Nikon/Canon... Sweet stories both of you! Made me smile.

 

Really, really off-topic but two questions:

1. Does anyone know of any arrangements (for recorder - ish) of Mozart's  Ah! Vous dirai-je maman ? I have a feeling I've seen something, somewhere but I'm not having much luck locating it now...

2. How do you deal with a piece of music that doesn't seem to make sense? I'm struggling with a menuett. It's not even difficult but the way that the breathing points are placed makes me realise that it's not how I thought it is. Though weirdly my husband asked me what the very pretty piece I was playing was... maybe it sounds coherent to him but it certainly isn't to me!!!! blink.png 


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#3596 elemimele

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Posted 20 July 2019 - 13:55

what menuet is it? I sometimes come across bits where I can't understand how the phrasing fits the barlines...


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#3597 old_and_grumpy

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Posted 20 July 2019 - 15:05

2. How do you deal with a piece of music that doesn't seem to make sense? I'm struggling with a menuett. It's not even difficult but the way that the breathing points are placed makes me realise that it's not how I thought it is. Though weirdly my husband asked me what the very pretty piece I was playing was... maybe it sounds coherent to him but it certainly isn't to me!!!!  

 

In all seriousness, I find it on youtube and listen to someone who presumably knows what it should sound like, then I do the same.  Very occasionally I've actually bought a cheap 2nd hand CD.  Possibly not the best way forward, but sometimes I can't work it out for myself and can't find anyone else who can.

 

(If all else fails I decide all interpretations are equally valid.)


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#3598 elemimele

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Posted 20 July 2019 - 15:34

I do the same. If you want justification, it is this: all the best French writers insist that the written notation must be played with "good taste". Presumably they expected the player to acquire good taste by modelling himself/herself on musicians who already played with good taste, hearing what they did (performed) with the notation that they read. Although the other European nations didn't bang on about good taste quite so drastically as the French, it's obvious they shared the same viewpoints. The key point about "good taste" is that it's something hard to describe or teach, it's something that is absorbed by a person who's receptive, when they hear others who have it. In effect, just as a spoken message is carried not only by the words (that can be written) but also by the body-language and tone-of-voice, Western "art" music has always been disseminated by the written text and an aural tradition, in parallel. So today, when you listen to good performances on CD or YouTube, you are treading in the footsteps of the 17th and 18thC performers - and every serious performer since - and learning in the same way as they learnt.

 

There, that's a great big erudite bit of text that really just means, have fun, listen to YouTube, play like your favourite performers, and the result is bound to be good.

 

I'm sure the same is true today. When I look at super-modern stuff, let alone things written in non-standard notation, like those pictorial things that are supposed to show a person how to perform something, I can't see how anyone could perform it without having heard how it's supposed to sound. That's almost the definition of non-standard notation. If it's not standard, then it's not interpretable by a standardly-trained person, if that makes sense? 


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#3599 old_and_grumpy

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Posted 20 July 2019 - 15:49

I suppose the ultimate is figured bass - you have to know how you are expected to create an accompaniment from the barest of indicators, so you would have to have a lot of experience of listening to how other people played.


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#3600 Zixi

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Posted 20 July 2019 - 17:18

elemimele - It's a Handel minuet originally in F major... HWV 518. It's not a difficult piece, I know. I was given it to practise jumping between octaves and that part isn't hard but the 'making sense' is.

 

Thanks for the slants. And it's good to know that it isn't just me! I do like your 'equally valid' oag!!!! And I think elemimele's 'fun' is extremely important. Actually, knowing that is comes down to practice, familiarity and grim determination is definitely comforting! I was always worried that my brain wasn't wired for it all!


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