Advanced Recorder Technique [1]

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Heyens / Bowman

Advanced Recorder Technique The Art of Playing the Recorder Volume

1

Finger and Tongue Technique

ED 9761

Recorder

Gudrun Heyens

Advanced Recorder Technique The Art of Playing the Recorder Volume 1: Finger and Tongue Technique Translation: Peter Bowman ED 9761

Volume 2: Breathing and Sound ED 9762

www.schott-music.com Mainz · London · Madrid · New York · Paris · Prag · Tokyo · Toronto © 2005 SCHOTT MUSIK INTERNATIONAL GmbH & Co. KG, Mainz · Printed in Germany

Contents Foreword

3

1. Finger Movements

4

2. Articulation

6

3. Scales/Arpeggios/Chromatic Scales

7

Notes regarding the exercises

7

F maj/D min; B flat maj/G min; E flat maj/C min; A flat maj/F min; G flat maj/E flat min; C maj/A min; G maj/E min; D maj/B min; A maj/F sharp min; E maj/C sharp min; B maj/G sharp min; F sharp maj/D sharp min.

9

Mixing the scales

7. Virtuoso Technique in all Keys About practising Exercises in all keys

41 42

8. Broken Chords

56

Patterns Repertoire examples (Vivaldi)

9. Trills Trill patterns Repertoire examples

23

41

58 60 64 64 66

10. Finger Vibrato (flattement)

69

Fingering charts Exercises Repertoire examples (Philidor)

70 74 76

4. Scales and Arpeggios in chromatic sequence

24

5. Scales in Thirds

28

Repertoire examples (van Eyck)

79

6. Smooth Double Tonguing

36

Fingering Chart

81

Exercises Repertoire example (van Eyck)

36 38

Order Number: ED 9761 Cover: Nathaniel Hone (1718–1784) „The Piping Boy“ (1769) BSS 51565

2

11. Double Tonguing with “did’ll”

78

Foreword The “Art of Technique” and the “Technique of Art” “Advanced Recorder Technique” is intended for advanced alto recorder players who are seeking rigorous practise material for developing their instrumental and musical skills. It is a continuation of the two volumes of Fun and Games with the Alto Recorder (Schott Ed. 12703–12707). The elements of recorder technique covered in those volumes will continue to be developed here with particular emphasis on musical recorder playing. Modern playing techniques are not included; the focus is on learning techniques suitable for early- and high-baroque recorder music, bearing in mind that these, and above all the “technique of practising”, are also relevant for the realisation of modern recorder music. The exercises included here correspond to the requirements of the recorder’s original literature and are intended mainly for the alto recorder. However, numerous recent editions of early baroque violin music arranged for soprano recorder, now an established part of the repertoire, have necessitated the serious treatment of this instrument too. A number of the exercises can therefore be played not only on the alto but transposed for the soprano recorder as well. In addition to inspiration, imagination and emotion, all forms of artistic expression depend upon overcoming certain technical problems without which the translation of an idea into a visible or audible work of art would be impossible. To what extent the techniques of the various art forms – physical control in dancing; brushwork in painting; voice production in singing; articulation and body language in acting, in other words the craftsmanship, can be called “art”, may be judged in different ways. In each case these intellectual and physical skills must receive special attention from the artist. Investing time and energy developing them to their limits is clearly worthwhile with regard to an end result which should be a positive musical experience for both artist and audience.

Regarding the recorder, and assuming a “normal” physical constitution, we can say that with knowledge and training the necessary manual skills can be developed to a certain level; the “Art of Technique” here means “craftsmanship”. Recorder playing technique can be divided into four categories: finger and tonguing techniques as well as breathing and sound production techniques. This volume deals with the first pair and therefore makes specific demands on the student. These reveal themselves not in the difficulty of the exercises themselves but rather in the task of dealing with the techniques imaginatively – not simply “practising” in order to complete the daily routine but from the beginning using the material as a medium for expressive, musical playing. For the player this assumes not only talent and commitment to practise but, for the musician, some further essential skills – self awareness, imagination and self criticism – which should be present through all the exercises. The present work does not submit as a primary objective to the “faster – louder – higher” school of playing but rather searches for the musical intent of each individual element. We hope with “Advanced Recorder Technique” that within the purely technical material the player will be able to discover and transform the musical parameters: sound; movement; tension/relaxation; stress; intent, and from that learn to deal musically with the individual technical elements (scales, arpeggios, trills etc.). Serious and continuous work developing creative technical skills as an essential part of the daily practise routine will, alongside regular music making, take about a year. All the exercises should then be part of the recorder player’s practise repertoire which can be memorised and recalled at any time. Gudrun Heyens

Glossary of Terms American English

British English

Thirtysecond note Sixteenth note Eighth note Quarter note Half note Whole note Soprano recorder Alto recorder

Demisemiquaver Semiquaver Quaver Crotchet Minim Semibreve Descant recorder Treble recorder

3

1

Finger Movements

Trilling Exercise *)

T

*)

S

**)

S

**)

*)

T

T

**)

*)

S

**)

S

T (etc.)

**)

T = Whole tone S = Semitone © 2005 Schott Musik International, Mainz

*) Fingers should lie very lightly on the recorder when trilling in the low register so that the finger which is making the trill can glide easily back and forth over the hole. This movement is controlled via a small movement of the wrist. **) Trills which do not speak when slurred may be practised using the tongue.

4

Finger Movements

1

Trilling Trilling aids the warming-up process in general and the warming-up of your fingers in particular. However, the priority here is the analysis of individual finger movements between notes. The purpose of the exercise is not to play through the sequence of trills from start to finish but rather to select individual bars. Do not use alternative fingerings as is common for the performance of trills (see the Fingering Chart) but focus carefully on training the precise co-ordination of several simultaneous finger movements. • Begin neither with the very lowest nor the highest register; it is easier to start with the middle regis-

ter. Progress from there to the more complex finger combinations. Make a note of any particular problems and begin your next day’s practice with these. • Breathe in slowly and deeply. Begin the trilling movement slowly, only gradually becoming faster. • Where the tempo is fast ensure smooth and even finger movements. If the movement becomes irregular begin again with a slower tempo. • Play from memory and in front of a mirror so that you can observe your hand position and “get a feel” for your fingers.

Space for notes and your own exercises

Tip: for all exercises in which notes occur that can be played by covering the end-hole of the foot joint (F sharp3, A3, E): Find a good sitting position which does not restrict your breathing but which allows you to bring your instrument close to your knee or upper thigh. Raise

your foot on to the tips of your toes so that the bellend of the recorder can be covered by your upper leg. This allows minimal and controlled movement of your upper body enabling the notes to be played without endangering your teeth.

5

2

Articulation

Finger- and tongue-techniques are inextricably linked to one another. Training virtuosic finger work requires real awareness of tongue movement because for each note in a series (e.g. a scale) there must be a tongue stroke, with one exception: legato playing. For this reason the following remarks concerning articulation have been deliberately given precedence over chapter 3, “Scales, Arpeggios, Chromatic Scales”, which focuses on finger technique. Detailed instructions regarding tonguing for use with the scale exercises can be found in that chapter. Articulation (the way in which syllables and words are spoken) gives our speech colour and expression and makes it more or less “interesting”. A speaker with clear and distinct pronunciation, who varies the rise and fall of his voice, will be listened to much more attentively than one who expresses himself monotonously, without varying either pitch or volume or who mumbles indistinctly. Exactly the same is true for recorder playing: knowledge of musical figures and their distinct and lyrical presentation through the use of articulation, dynamic, agogic stress and movement make the playing colourful, informative, appealing and moving (i.e. emotional). In order for articulation to be able to differentiate clearly between the content of the musical figures a sophisticated tonguing technique is required that has control over a range of articulations from hard to soft and short to long. Legato True legato is the easiest kind of articulation to define: all joined notes (those occurring under a single slur) are formed without the help of the tongue. The individual notes sound when the fingering changes whilst the breath continues in an unbroken stream. Staccato Staccato is an articulation which shortens individual notes. The extent of the shortening depends on the character of the music. Staccato notes can be played with either soft or hard tonguing. They can also be finished either with a tongue stroke, which has the effect of making them sound tense and exact, or without using the tongue, which makes them sound light and airy. The range of possible articulations is enormous. A light, “leggiero” staccato which is “relaxed” can be obtained by finishing notes with a fast movement of the tip of the tongue. Breath control also plays a role here as each note can be formed with an extra small impulse of the diaphragm. The air pressure can also

6

be kept constant with abdominal tension so that the tongue strokes produce an apparently unbroken stream of staccato notes. Non-legato All of the above also applies to non-legato playing. Notes can begin either with a hard or soft tongue stroke and end before the start of the following note. This should be clear enough, however there are several possibilities for the realisation of non-legato: 1. The note finishes with a clearly audible tongue stroke: doot doot 2. without finishing with the tongue: doo doo The length of the silence between the notes is variable. Take care with the finishing tongue stroke: use only the tip of the tongue. As an exercise try to say the following: ye-ttttt. Note that the sides of the tongue lie against the back teeth, as when you say “yes”. For the ttttt the body of the tongue remains in the “yes” position – only the tip of the tongue moves. Portato Moving only the tip of the tongue is also very important for portato playing. In order to be able to realise the extreme smoothness of this articulation, which is very similar to true legato, the exercises e.g. the scales, should first be played legato (slurred). In the process of this concentrate on “feeling” the function of your breath: it creates the notes. If it is too weak a break in the sound is unavoidable because the tongue stroke, which normally provides the impulse for the note, is missing. The flow of breath must be able to be varied: stronger, weaker, faster or slower depending on pitch and register. The tip of the tongue sets little markers in an unbroken stream of breath. Air Tongue Initially it may be difficult to feel the two “tracks” of this action. It might be helpful to transform the “doo” articulation syllable into the gentler “loo” tonguing or even to create a mixture of the two. Rule: Legato serves as a basic sound model and blowing exercise for portato articulation. Legato Non-legato Staccato Portato

= joined, slurred = not joined, separate = short, often with a hard attack = notes are “carried” from one to the other (portare It. = to carry)

Scales, Arpeggios, Chromatic Scales Notes Regarding the Exercises Major Scales In order to have as much practise material as possible begin all major scales with the lowest note of the scale available on the instrument. This will not necessarily be the tonic note. Play each scale up in octaves and, again in octaves, back down. In this way it is possible for fingers and tongue to work for longer with each scale, despite the limited range of the recorder. Major Arpeggios Only the tonic arpeggio of each scale will be practised. Again, begin with the lowest available note of the arpeggio even though this may produce an inversion. Go back to the second note of the arpeggio and begin again, working up to the highest note available. Chromatic Scale Chromatic scales should be practised up and down over the range of an octave. Begin with the tonic note of the scale. Minor Scales The minor scales are practised in triplets and within the range of an octave. They must be played through three times before the tonic note again falls on a strong beat. Use the same pattern for both harmonic and melodic minor scales. Minor Arpeggios

3

played in its entirety without a break. Do not overreact if you make a mistake or if you have to stop. Becoming irritable if something goes wrong does not help. Instead, remain calm and try to play the next scale correctly. The amount of breath you need will depend upon your opening tempo. If necessary, place in breath marks and try to get to the end of the passage by breathing only at the places marked. • Establish your starting tempo with a metronome and make a note of it. In this way you will be able to check your progress more easily. • Do not forget to think and do not play faster than you can think! For example: as you reach the highest note in an octave run of a major scale, inwardly tell yourself the first note of the next passage before actually playing it. In other words, do not just play by ear! • Nevertheless, always listen to your sound. Describe it, consider it. Your ear should not simply be satisfied with the correct pitch, you must also be aware of the sound quality.

Tips for Fingerwork Fingers should always move quickly up and down, then immediately relax. The movement need not be great; when not active the fingers remain relaxed above their holes. As a control: someone holds a ruler 3 cm (11/2 inches) above your fingers whilst you play. The more rhythmic and precise the finger movements, the neater and more accurate the co-ordination with your tongue.

The same principle as for major arpeggios applies. Chromatic Scales The chromatic scale begins with the tonic note of the minor scale.

Practise Tips • Read and understand the principles of the major/minor (Fmaj/Dmin) “technique block” described above and then organise your practise session accordingly. Learn the patterns from memory. Once internalised it can be transferred to all keys. Advantage: your practise material is always available. Consider Fmaj/Dmin as a unit, particularly with regard to your concentration span. Begin with F major (including the chromatic scale) in a slow tempo, ensuring a steady beat and playing without stopping to take a breath. Pause before beginning the minor scale which should also be

Tips for Tonguing Play a light, springy “ti ti ti”. (short “i” as in “bit”) Concentrate only on the beginning of the note; do not tongue the end of the note. The note remains open, not rigid and static as in staccato (“tit, tit, tit”). Reminder: the difference between a note which is finished with a tongue-stroke and one which sounds open lies simply in the exact point in time at which the upwards movement of the tongue takes place. If this happens precisely at the end of the note it will sound “cut off”. However, if the tongue movement occurs at the last possible moment before the beginning of the next note – and it must be very fast – then the note will not sound as though it has been finished with the tongue. You could say that the tongue stroke occurs not at the end of the first note but at the beginning of the second. Imitate with your tongue the sound a table tennis ball makes when dropped and left to bounce for several seconds. 7

3

Scales, Arpeggios, Chromatic Scales

When you are satisfied with the co-ordination of tongue and fingers try to alter your articulation to a soft, broad portato. Ensure that you use a firm stream of breath which is well directed.

Preliminary Exercise Play each of the octave runs in pure legato and observe the movement of your breath. Try two extremes: 1. a strong crescendo to the highest note

etc., to

2. a decrescendo upwards

etc., to

Does the highest note speak easily when played piano? Now play 3. with an even breath throughout

etc., to

and observe that you do not necessarily need high breath pressure to play high notes on the recorder.

Play the chromatic octaves in groups of four. This will help rhythmic orientation:

Now with Articulation 1. Play with a broad portato and articulate the high notes softly, as though playing legato. 2. Play again, this time with short articulation and an increasingly harder tongue stroke as you get higher. Which sounds better? Articulate the arpeggio exercise in accordance with the triplet figures, first clearly (ta ti ti, ta ti ti), and then portato the second time through.

8

Articulate the minor scale clearly in triplets (ta ti ti, ta ti ti) so that you do not lose track of the beat. Listen carefully to ensure that the stress on the first note of each triplet is gained by lengthening the note and not by blowing harder (accenting).

Scales, Arpeggios, Chromatic Scales

3

F major

3

9

3

Scales, Arpeggios, Chromatic Scales

d minor

3

3

3

3

10

Scales, Arpeggios, Chromatic Scales

3

B-flat major

3

g minor

3

3

3

3

11

3

Scales, Arpeggios, Chromatic Scales

E-flat major

3

c minor 3

3

3

3

12

Scales, Arpeggios, Chromatic Scales

3

A-flat major

3

f minor

3

3

3

3

13

3

Scales, Arpeggios, Chromatic Scales

D-flat major

3

b-flat minor 3

3

3

3

14

Scales, Arpeggios, Chromatic Scales

3

G-flat major

3

e-flat minor 3

3

3

3

15

3

Scales, Arpeggios, Chromatic Scales

C major

3

a minor

3

3

3

3

16

Scales, Arpeggios, Chromatic Scales

3

G major

3

e minor 3

3

3

3

17

3

Scales, Arpeggios, Chromatic Scales

D major

3

b minor 3

3

3

3

18

Scales, Arpeggios, Chromatic Scales

3

A major

3

f-sharp minor 3

3

3

3

19

3

Scales, Arpeggios, Chromatic Scales

E major

*)

3

c-sharp minor 3

3

3

3

*) See Fingering Chart 20

Scales, Arpeggios, Chromatic Scales

3

B major

3

g-sharp minor3

3

3

3

21

3

Scales, Arpeggios, Chromatic Scales

F-sharp major

3

d-sharp minor 3

3

3

3

22

Scales, Arpeggios, Chromatic Scales

3

Mixing the Scales This section deals with the repetition of all scales and arpeggios in order to ensure that they are all well known and ready for recall at a moment’s notice. You should now begin to mix the technique blocks so that, for example, today you play B flat major and A minor, tomorrow B major and C minor, the following day E flat major and B minor.

If the scales become confused or you experience problems with your fingers then restrict yourself to one pair of scales today and tomorrow choose another pair. Repeat the entire technique block regularly until all scales and arpeggios can be played in any order fluently at the same tempo.

Examples for Mixing the Scales

B-flat major and a minor

3

3

3

3

23

4

Scales and Arpeggios in chromatic sequence

Check that all scales are firmly established in your mind and fingers. Playing from memory, start at the beginning with a steady beat and aim to complete one block (e.g. scales up or down) in one breath.

Scales up/down

Scales down/up

24

Establish at the start of your practise session exactly what you want to achieve (e.g. rising scales) and do not waste time playing through lengthy passages which are difficult to absorb. Restrict yourself to memorising short sections which can be repeated often and then used to begin the next day’s practice before turning to the next section.

Scales and Arpeggios in chromatic sequence

4

Arpeggios up/down 3

Arpeggios down/up

25

4

Scales and Arpeggios in chromatic sequence

Rising scales

Falling scales

26

Scales and Arpeggios in chromatic sequence

4

Arpeggios in fours up

Arpeggios in fours down

Rising arpeggios

Falling arpeggios

27

5

Scales in Thirds

The most important finger movements in recorder playing can be split into three categories: falling; lifting; alternating. The last is a combination of the first two. Whereas with few exceptions (e.g. from the fourth to the fifth note in F major) only one finger lifts when playing major and minor scales, it is in the nature of scales in thirds that two fingers move together. The lifting movement uses more energy than the more natural falling finger movement and this is often the cause

F major

28

of impurities in the course of playing. Every player’s fingers will move at different speeds: the ring finger, for example, is often slow and may appear to remain “stuck” to its hole. Practise the scales in thirds in short sections (bar by bar) but with the aim of eventually playing them fast. When seeking the cause of slips or impurities of finger work, reduce the number of notes (still playing in thirds) but not the fast tempo.

Scales in Thirds

5

B-flat major

E-flat major

29

5

Scales in Thirds

A-flat major

*)

D-flat major

*) See Fingering Chart 30

Scales in Thirds

5

G-flat major

31

5 C major

G major

32

Scales in Thirds

Scales in Thirds

5

D major

A major

33

5 E major

B major

34

Scales in Thirds

Scales in Thirds

5

F-sharp major

35

6

Smooth Double Tonguing

Sixteenth-eighteenth century sources inform us that double syllables were used for the performance of certain passages of notes on wind instruments. Some important examples: Sylvestro Ganassi, La Fontegara, Venice 1535 (a treatise on the art of playing the recorder and text book for diminution): Le-re, te-re, te-ke, de-re (the “r” is pronounced with the tip of the tongue, like an Italian rolled “r”) Hotteterre le Romain, L’Art de preluder sur la flûte traversière, sur la flûte a bec, sur le hautbois et autres instruments de dessus, Paris 1719: Tu-ru (pronounced “too-roo”, again with a tongued “r”) J. J. Quantz, Versuch einer Anweisung die Flöte traversière zu spielen (On Playing the Flute), Berlin 1752: Ti-ri, did’ll (pronounced “di-dl”) The purpose of double-syllable tonguing, called double tonguing, is twofold: • firstly, by using alternate tongue strokes (e.g. di-ge, di-ge, di-ge), the tongue is more easily able to play series of fast notes whereas, if repeated single-syllable tonguing were used (di-di-di-di), the tongue would quickly tire • secondly, the difference in sound between each of a pair of tongued syllables such as di-ge exemplifies the different strengths of the notes according to rules for the performance of early music. These recognise the first and third beats in the bar as “good” (stressed) and the second and fourth beats as “bad” (unstressed). This principal extends even to the smallest note values.

The syllables di-ge should be used throughout the following exercises but also serve as a model for other possible syllable combinations (do-go, di-gi, de-ge, do-ge, du-ge etc.). Repeat “di-ge” slowly several times and really “feel” the movement in your mouth. As you say “di” (pronounced with a short “i” as in “did”), a stream of air is released by the action of the tip of the tongue being pulled away from the front gum whereas with “ge”, the tip of the tongue sits on the floor of the mouth whilst the soft palate, which was held up by the back of the tongue, releases the air stream. Try all possible vocal forms one after the other (doge, do-go, de-ge etc.). Begin by speaking slowly and then articulate the syllables with your instrument in front of a mirror. Establish: • how the shape of your mouth changes • how your tongue moves for each of the different syllables • whether the different syllables affect the tone colour • which syllables are the most comfortable for you; which produce the most tension • repeat each double-syllable several times; which feels most comfortable for you • purse your lips and say “doo-goo”. The shape of your mouth should match closely the shape of the beak of the recorder. For your first double-tonguing exercises decide on a syllable pair that feels comfortable and stick with that at least until the first signs of success. Goal: to produce a smooth sequence of notes with neat co-ordination between tongue and fingers.

Exercises for Smooth Double Tonguing (di-ge) (begin slowly, increasing the tempo gradually over a period of weeks) Tempo:

a)

c)

d)

36


=

b)

Smooth Double Tonguing

6

Tips for Exercise a Play individual groups of four notes followed by a short pause. Stress the first sixteenth note and allow the following notes to fall away in a decrescendo. Focus your attention on the impulse given to the first “di”. The air flows like a conveyor belt in an unbroken stream over the tongue. The tongue-strokes “d” and “g” should not interrupt the flow of air. ge

Tongue di Air

ge di

ge di

ge di

ge di

Try the opposite too! Tongue Air

di

ge

di

ge

di

ge

We began this exercise with the C major scale because of its straightforward fingering combinations and the relative ease of playing in the middle register. Continue with B flat major, D minor, G major, G minor, D major and A minor. When you are able to play these scales with a full, smooth and even tone, without impurities, continue the exercise in all remaining keys.

Directions for the Following Exercise Breathe in slowly and calmly and repeat the first pattern, up to the third, for as long as you have breath available. Play slowly at first, increasing the tempo very gradually but continuously. Listen carefully for the following: • Is your tongue movement smooth but audible and rhythmically accurate? • Are your finger movements smooth and even? • Is your playing relaxed and easy, neither louder nor softer than mf?

Causes of Mistakes/Problems: Inaccurate or poorly co-ordinated finger movements; noisy tongue; notes sounding detached due to too hard articulation; tonguing too soft and indistinct causing the notes to blur together.

• Are your shoulders, arms and head relaxed and loose so that they can move during playing? Play the remaining sequences of a fifth and octave beginning with a single stressed note; the following notes should flow seamlessly, without accent. Play “continuously” here too, beginning slowly and only very gradually becoming faster, ensuring a full, smooth and even tone throughout.

1

2

After a few weeks of practising double-tonguing on the alto repeat the exercises transposed for the soprano (see exercise page 36):

“Comagain” Differentiate clearly between the various figures, making the leaps and melodic stepwise passages clear through careful use of different articulations including changing between single and double-tonguing (di, di-ge). The tempo of the variations in the solo works from the “Fluyten Lust-hof” of Jacob van Eyck depends on

the tempo of the initial theme. The lively character of the variations results from the introduction of progressively smaller note values (a practice known as diminution). When practising these works it is necessary to refer to the theme constantly for the correct tempo.

37

6

Smooth Double Tonguing

Comagain

Jacob van Eyck ca. 1590 –1657 (from: “Der Fluyten Lust-hof”)

Modo 5 ( = 60) S/A di ge di ge

di ge di di di di di ge di ge di ge di di ge di ge di ge di

di di di ge di ge di ge

di

di

di di di ge di ge di ge

di ge di ge di ge

1

2

d g d g d g d g d g d g d g d d

d d d g d g d g d

Practise on the soprano recorder as above but transposed to F major for the alto:

38

Smooth Double Tonguing Psalm 150

6

Jacob van Eyck

Modo 5 ( = 60) S/A

di ge di ge

di di di ge di ge di ge di di di ge di ge di di

di

Practise on the soprano recorder as above but transposed to B flat major for the alto: 39

6

Smooth Double Tonguing

In the following repertoire list from the late sixteenth and seventeenth centuries the diminutions serve a similar function to that of decorations in architecture. Here the clear, strict form is interrupted and the observer is given the opportunity to linger on and enjoy small playful details such as flowers, vines or small statues of people and animals as well as ornate curved lines and shapes. In music, the antiquated madrigal and motet themes and the stereotypical canzona motif were delicately and playfully varied, the pillars of the structure of the original melody being entwined and played with. It should be clear that these embellishments must sound light, just as the decorations on a building have the effect of adding variety and making the building look less severe, more friendly. Indeed, eyes and ears are distracted, delighted and can enjoy the pleasure of the additions. Nevertheless, the decorations remain inextricably linked to both building and musical framework. The ornaments should become neither independent nor an end in themselves. Musically, this means that the performer may not use ornamentation for the display of his own virtuosity rather, in the overall musical context, the ornaments must always be meaningful and comprehensible. Technically, the use of gentle and unobtrusive sounding articulation which is similar to the gentle “entwining” effect of true legato is most appropriate. The tempo in most cases is given in larger note values (  = 60 or 40) which allows for some rhythmic flexibility within the ornamental figure thus making possible the distinction between main and

40

passing notes. The main “structural” notes of the original melody can be lengthened or lingered upon and the “lost” time regained by accelerating through the less important ornamental notes. The pulse, however, should not be allowed to become unsteady. Repertoire List Venetian Music from 1666, Schott OFB 122 Jacob van Eyck, Der Fluyten Lust-hof, Amadeus BP 704, 705, 706 Dario Castello, Sonata concertate, Studio per Edizioni Scelte No. 15, No. 44 Giovanni Batista Fontana, Sonate a 1, 2, 3 per Violino …, Studio per Edizioni Scelte No. 5 Giovanni Batista Fontana, Six Sonatas, Amadeus BP 466 Francesco Rognoni, Vestiva, i colli, Edition Moeck Nr. 2547 Marco Uccellini, Sonatas Op. 5, Mieroprint EM 3039 Angelo Notari, Canzona passagiata, Nova Music Giovanni Antonio Pandolfi Mealli, Three Sonatas, Verlag Doblinger DM 414 Giovanni Bassano, Ricercate.Passagi et cadentie, Pelikan Edition 975 Aurelio Virgiliano, Il Dolcimelo, London Pro Musica Edition Bartolomeo de Selma, Canzoni, Fantasie et Correnti, Studio per E.Sc. 38 Bartolomeo de Selma, Three Canzonas, PAN 859, 850 Girolamo Dalla Casa, Divisions on chansons, London Pro Musica REP 3

Virtuoso Technique in all Keys A virtuoso technique will help you master the virtuosic aspects of baroque music. The numerous passages of figures from baroque concertos and sonatas included here, which place great demands on your technical ability, especially regarding fluency (i.e. speed and flexibility) and precision in co-ordination of fingers and tongue, are intended to help with this. Virtuosity (from Latin, virtus = virtue, ability) must be brought into play, above all, with regard to your stamina, concentration and critical faculties so that in the concert situation you will be able to fall back on a securely based technique. Devote your time to one key – for several weeks if necessary – until you are fluent with all fingering combinations and pleased with your sound.

7

• Continue using gentle double tonguing even in the high register, supporting the high notes with a welldirected stream of breath instead of attacking each note with a strong tongue-stroke. • When using complex fingering combinations take care to analyse precisely each finger movement. This modest amount of work, five to ten minutes, offers effective progress in your practice. In this way you will avoid weeks of poor quality “brainless” playing-through which results at best in meagre progress.

Practice Examples

Requirements for Practising • Lots of time • quiet • an appropriate chair with a flat sitting surface, not one which slopes backwards, and with a straight back that you can lean against without slouching. • sit with your legs set straight from your hips and your feet flat on the floor. There is no tension either in your thighs or lower legs; don’t “hold” your legs together nor allow them to “fall apart”. Head, shoulders and arms are relaxed and should remain so throughout each section of your practise session (e.g.. F maj.: a, b, c). Control (ie. restrict) your movement whilst playing.

Instructions for Practising • Use the articulation syllables “di-ge, di-ge” ( ) and “di-ge-di” ( ). • Repeat each bar for as long as you have breath available. • Begin with a tempo of
= 60 and “feel” your tongue and finger movements. Increase the tempo gradually whilst playing until you reach a tempo of
= 120 –130 but if problems arise “switch” back (without stopping) into a slower pace. When your playing is sufficiently secure, increase the tempo again. • Ensure that all notes are clearly audible and carefully assess the quality of the highest and lowest notes.

1

2

3

4

1

1. Play the figure slowly and observe how the finger movements of both hands are distributed over the four sixteenth notes. In this example fingers on both hands move for each sixteenth note. 2. Now “play” the figure silently, fingering the notes and humming the pitch or rhythm to maintain your orientation. 3. Silently finger each note without humming – concentrate on “feeling” your finger movements. Finger movements should be precise and rhythmic – check this by making the contact of fingers on recorder audible (finger slapping). Observe your finger movements. 4. Finger the figure from memory and with eyes closed. 5. Only the fingers of the right hand move in the rhythm of the figure – hum to maintain orientation. 6. Now play with the fingers of the left hand only. For which notes must your thumb move? 7. Combine the finger movements of both hands but this time try to play the figure with the new “finger awareness” and not working intuitively, “fingering-by-ear”.

41

7

Virtuoso Technique in all Keys

Make a note here again of any fingering combinations which you find particularly difficult.

Exercises in all Keys F major a

42

Virtuoso Technique in all Keys

7

b

c

d minor a

b

c

43

7

Virtuoso Technique in all Keys

B-flat major

etc. to

a etc. to

etc. to

b etc. to

etc. to

c

etc. to

g minor

etc. to

a etc. to

etc. to

b

etc. to

etc. to

c

etc. to

44

Virtuoso Technique in all Keys

7

E-flat major a

b

c

c minor a

b

c

45

7

Virtuoso Technique in all Keys

A-flat major a

b

c

f minor a

b

c

46

Virtuoso Technique in all Keys

7

D-flat major a

b

c

b-flat minor a

b

c

47

7

Virtuoso Technique in all Keys

G-flat major a

b

c

e-flat minor a

b

c

48

Virtuoso Technique in all Keys

7

C major a

b

c

a minor a

b

c

49

7

Virtuoso Technique in all Keys

G major a

b

c

e minor a

b

c

50

Virtuoso Technique in all Keys

7

D major a

b

c

b minor a

b

c

51

7

Virtuoso Technique in all Keys

A major a

b

c

f-sharp minor a

b

c

52

Virtuoso Technique in all Keys

7

E major a

b

c

c-sharp minor a

b

c

53

7

Virtuoso Technique in all Keys

B major a

b

c

g-sharp minor a

b

c

54

Virtuoso Technique in all Keys

7

F-sharp major a

b

c

d-sharp minor a

b

c

55

8

Broken Chords

Each of the following broken chords begins with the same note. Articulation: “di-ge-di, di-ge-di” Repeat each bar for as long as you have breath available. Proceed as before with the tempo of your choice. Begin slowly – gradually getting faster.

56

Initially, practise each of the chords in the order given, taking care when making the transition from one bar to the next. Which note changes? When you are able to proceed through the sequence without error, select random sequences of bars so that all combinations can be played fluently one after the other.

Broken Chords

8

57

8

Broken Chords

Pattern for Practising Chord Sequences Articulation: di-ge di-ge

di-ge di-ge

Now practise the same key with the pattern given, but in different time signatures. As always, repeat each pattern for as long as you have breath available. The

Add to the following pattern all the chords that can begin with the same note. The lowest note should speak clearly and sound firm and strong. Imagine, that like an organ pedal note, it sounds throughout the passage.

58

main emphasis of each bar should be clearly audible, regardless of whether this occurs in a virtuoso passage from a Concerto by Vivaldi or in a Sonata by Corelli. Also play the broken chords in a chromatic sequence of keys by picking out individual keys appropriate to the music that you are currently studying.

Broken Chords In addition to the main emphasis of each bar the melody notes should also be made audible by: 1. A clearly articulated “di” 2. A slight lengthening of the note.

8

Instructions for Practising Attempt to play each bar six times in a row without a mistake or a slip. If unsuccessful, begin again!

C major

c minor

A-flat major

f minor

F major

D7

a minor

59

8

Broken Chords

Concerto in C major for Sopranino Recorder, Strings and B. c. Antonio Vivaldi

(Rinaldi, op. 44, No 11) 1st Movement 30

( )

( )

)

M
=* ...... – MM
= 126

The rhythm of the pedal point is highlighted:

122

( )

M


= ...... – MM
= 126

*) Important: The tempo indications relate to a possible final tempo. Make a note of your tempo at the beginning and gradually increase this daily. At the same time practise the individual figures in parallel, but at the final tempo. 60

Broken Chords

8

Concerto in C minor for Recorder, String Orchestra and B. c. (P. 440) 1st Movement 53

Antonio Vivaldi

Allegro non molto

( )

( )

M Two versions of this solo passage are given in which the editors have realised the originally incomplete bar 57 in different ways. (Musica Rara, London; Schott Musik International, Mainz)


= ...... – M
= 80

61

8

Broken Chords

Concerto in C minor for Recorder, String Orchestra and B. c. 3rd Movement

Antonio Vivaldi

(solo)

( )

115

( )

MM 62


= ...... – MM
= 126

Broken Chords

8

Concerto in A minor for Recorder, String Orchestra and B.c. (Rinaldi, op. 44 no. 9 / P. 83) 1st Movement, Allegro

Antonio Vivaldi 73

( )

80

( )

85

MM


= ...... – MM
= 96

Tip: If necessary, the note or notes under the breath marks in brackets can be omitted so that the metrical flow is not disturbed. This also applies to Vivaldi’s Concerto in C major for sopranino recorder (see above).

Further repertoire: For those seeking further practise material for “broken chords” I recommend the first and third movements from Vivaldi’s Trio in A minor for recorder, bassoon and B.c.

63

9

Trills

Practise trills following the patterns given below, paying close attention to rhythmic accuracy. Begin with the upper auxiliary note exactly on the beat. Finger the appoggiatura (upper auxiliary note, start of trill) with the normal fingering and play the trill with the alternative fingering given. A trill always consists of two notes. Find out which notes the alternative fingerings produce!

Trill Pattern

1

2

3

1

2

3

1

2

or

*) or

*) alternative fingering for the b-natural in the turn

64

b-natural

Trills Occasionally the upper auxiliary note of a trill is played not on but before the beat. This depends on the harmony and can be determined from the figures in the basso continuo, e.g. when the main note of the trill, which has the trill sign above, is already a dissonant or suspended note. Placing an emphasis or stress on the consonant upper note by playing it “on the beat” would cancel out the desired effect, i.e. the effect of the clashing dissonance would be lost.

9

diminished fifth, seventh or second, (…) then the appoggiatura must be played very short, so as not to change the dissonances into consonances. (…), this must be avoided as much as possible so that the beauty and attraction of the harmony are not spoiled.” J. J. Quantz, “On Playing the Flute”, Chapter 8, § 10, On Appoggiaturas Practise the examples again following the rhythmic patterns given but this time ensure that you hear the main note falling on the beat. Begin in the first bar, not with the upper note but with the main note and be sure to count the quarter note rest.

Quantz wrote: “Where there are trills on notes which form dissonances with the bass, whether an augmented fourth,

Trill Patterns

2 3

1

4

1

2 3

4

1

Sonata in C major

3

2 3

4

1

2

3

Sonata sesta

3

4

4 5

3

4

3

5 3 4

65

9

Trills

Repertoire Examples:

Sonata in C major, Op. 1 No. 7 Allegro . = 65

Sonata in C major Vivace

(from: Der Getreue Musikmeister)

= 120

Suite in G major = 126

S

Play all the passages in which trills are indicated above fast notes initially without the trills. The trills should not hinder the metric and rhythmic flow – they must be played very short.

Concerto in C major for Recorder, 1st Movement Allegro

= 126

Sonata for Alto Recorder and Basso Continuo Adagio

66

= 60

=

Trills Allegro

9

= 60

Concerto in F Allegro assai

. = 66

5

S

69

3

3

Concerto in C major Allegretto non molto

= 80

56

3

3

67

9

Trills

Concerto in A minor (P. 83) 1st Movement: Larghetto

= 56

18

3

3

(tutti) 3

3rd Movement: Allegro

3

= 88

Concerto in C major Allegretto

= 120 (

3

68

(

)

3

)

) (

(

3

3

(

(

)

)

(

) (

) (

)

) (

)

Finger Vibrato (flattement) Finger vibrato is a fluctuation of pitch. It is treated as an ornament and involves a single note. The size of the pitch fluctuation for trills is either a semitone, whole tone or third, whereas for finger vibrato it is a semitone at most but normally smaller and also more variable within the designated pitch span. Although there are early references to a form of vibrato using the upper auxiliary note, in the course of two centuries in England, France and Italy there was increasing use of a finger movement which caused a lowering of the pitch of the main note. Silvestro Ganassi in his recorder method “La Fontegara” of 1535 (Venice) mentioned two kinds of ornament produced by the fingers, both called tremoli. Suave tremolo, produced by blowing softly, is quieter than the vivace-tremolo and is performed using an interval of less than a semitone. The resulting sound is more similar to vibrato than a trill. Further descriptions of finger vibrato on the recorder can be found in G. van Blankenburgh’s recorder tutor of 1654 (Amsterdam), “Onderwyzinghe Hoemen alle de Toonen halve Toonen, die meest gebruyckelyck zyn, op de Hand-Fluyt Zal konnen t’eenemael zuyver Blaezen”. This tutor was written for a recorder in C similar to the one J. J. van Eyck might have used. Blankenburgh’s finger movements, called Trammelanten, were executed either by covering the entire finger hole, by hitting the edge of the hole or by half-

10

covering or -opening the hole to produce various different effects. English recorder tutors of the seventeenth century give detailed rules for ornamentation and clearly show a close relationship between two forms of ornament in which the pitch of the note is lowered i.e. the lower mordent and finger vibrato. In the unpublished recorder tutor by E. Loulié, “Méthode pour apprendre à jouer de la flûte douce”, (Paris, early eighteenth century) we read: “In order to play a flatté or balancement first play the note above which the flatté sign appears then slowly hit the edge of the next open hole, with the exception of holes 1 and 2, which should never be used, so that the original note is not changed. There are, however, some flattés which are made by hitting other holes.” The most important source of information for recorder players is the theoretical description of flattement by J. M. Hotteterre in his “Principes de la Flûte Traversière, ou Flûte d’Allemagne, de la Flûte a Bec ou Flûte douce et du Haut-Bois” Paris 1707”: “Flattement or tremblement mineur is produced in almost the same way as the ordinary trill, the only difference is that it must always be finished by lifting the finger off, except on D (F on the alto recorder – author’s note). It is made by hitting more distant holes and some on the edge or extremity of the hole. It always produces a lower tone, in contrast to the trill.”

69

10

Finger Vibrato (flattement)

Fingering Charts

Sylvestro Ganassi “La Fontegara”, Venice 1535 (A treatise on the art of playing the recorder and text book for performing diminutions)

V = vivace (lively trill) S = suave, sweet (smooth, sweet trill) t = finger hole on which the trill is made 70

Finger Vibrato (flattement)

10

G. van Blankenburgh, Amsterdam 1654 from “Onderwyzinghe Hoemen alle de Toonen, halve Toonen, die meest gebruyckelyck zyn, op de Hand-Fluyt Zal konnen t’eenemael zuyver Blaezen”

 k or

= trill movement covering hole = using the edge of the hole = half covering or half opening the hole

together with + or – = more or less than half open

Note: the higher stave indicates the note actually heard 71

10

Finger Vibrato (flattement)

E. Loulié (d. 1707) from “ Méthode pour apprende à jouer de la flûte douce”

72

Finger Vibrato (flattement)

10

On Performing Flattement Hotteterre writes: “These ornaments (flattement, and battement i.e. mordent – author’s note) are not indicated in all pieces. Indeed, normally they occur only in those pieces written by teachers for their students. … In any case it is very difficult to teach students to recognise the places at which they may be used during playing. In general, the only thing that can be said is that flattement is often used when performing long notes, for example, on whole notes, half notes and dotted notes etc. Battements are mostly made on short notes such as simple quarter notes when played fast and on eighth notes when played equally. One cannot give rules for the use of these ornaments. Taste

and practice contribute more than theory in knowing the right time to use them. My advice is at first to play only pieces in which all the ornaments are shown. In this way you will gradually become accustomed to placing them on those notes by which they will produce the greatest effect.” (“Principes de la Flûte …” p. 33) “Just as with trills and mordents, they can be played slower or faster depending on the tempo and character of the piece.” (From the foreword to “Premier Livre des Pièces pour la Flûte Traversière”, Paris 1715.)

Hotteterre’s Trill Chart J. M. Hotteterre, from “Principes de la Flûte …”, Paris 1707

 = trill using the whole hole  1/2 = trill using half the hole  B = trill on the edge of the hole 73

10

Finger Vibrato (flattement)

Using the Fingering Charts The instruction “using half the hole” can mean two things: 1. In G. van Blankenburgh’s fingering chart some notes are produced by half covering a finger hole (in place of a so-called “forked fingering”), e.g. F2 on the soprano recorder. In order to be able to make a finger vibrato on this note the finger must remain in its position on the hole but make a slight movement back and forth. This will result in a small but audible upwards fluctuation in pitch. The finger movement is very small and barely visible. 2. The finger hole of the note which lies below that of the main note is half covered by the finger which is then lifted again. A rise in pitch of about a semitone will be audible.

“on the edge of the hole”: Here, the finger is moved somewhat further away from the hole than is the case for half covering the hole. A finger vibrato similar to “trembling” or “shaking” is possible when executed in a fast tempo. “hitting more distant holes” Hotteterre means here the complete covering of a hole which, however, does not result in a whole- or halftone trill because the hole concerned does not lie immediately under the main note but further away. Example: Alto recorder D, trill not with the left hand ring finger but the right index finger. Although the hole is completely covered only a small fluctuation in pitch will be heard. Further Reading: Greta Moens-Haenen, Das Vibrato in der Musik der Barock, (Vibrato in Baroque Music), Graz, 1988 (Akademische Druck- und Verlagsanstalt)

Exercises Play flattement on all notes, including all alternative fingerings that you know. Exercise for the adjacent finger hole First make a small finger movement on the finger hole below the main note: 1. Half covering the hole 2. Hitting on the edge of the hole Example:

Exercise using more distant finger holes 1. Completely covered 2. Half covered 3. Tapping on the edge Example: or 4. With several fingers

• To what extent does the sound of your flattement differ from breath vibrato?

74

• Is the effect mechanical? If yes, why? • Does it contribute to the development of the tone? If yes, why? • Which affect is strengthened by the use of flattement? • Describe the amplitude, the frequency and the dynamic and then alter these at will. Finally, combine these parameters in different ways. • Make a note of which method of execution is for you the most expressive, has the best tone and is the most tasteful. Observe these qualities for every note and then systematically apply what you have learned by playing repertoire until you have absorbed the techniques and can apply them freely and naturally. Note that: Flattement lowers the pitch. It is therefore advisable to practise flattement on the higher pitched alternative fingerings (piano fingerings) and to use these when playing in ensembles so as to avoid intonation problems. Play through the historical fingering charts for flattement – those of Ganassi and van Blankenburgh – on a soprano recorder which uses Ganassi type fingerings and compare these fingerings with those that you have discovered for yourself.

Finger Vibrato (flattement)

10

My Own Flattement Fingerings

75

10

Finger Vibrato (flattement)

Play this Suite in the original key of E minor on a voice flute or in G minor on an alto recorder.

= flattement

76

Finger Vibrato (flattement)

10

77

11

Double Tonguing with “did’ll”

J. J. Quantz “On Playing the Flute” (1752), chapter 6, section 3 under the heading “Of the use of the tongue with the word did’ll or the so-called double tongue” wrote:

behind the teeth while the middle section of the tongue is released from the palate which in turn releases the air at the sides, near the molars. The resulting attack is weaker and less explosive than di (and of course ti ); it can also become very soft and uncontrollable, even unnoticeably changing into legato. Quantz’s instructions for practice should be strictly observed:

“Double tonguing is only used in the very fastest passages. It is as easy to explain orally and as simple for the ear to grasp as it is difficult to teach in writing. The word did’ll, when articulated, consists of two syllables, the second of which has no vowel. Therefore, it cannot be called either didel or dili, only did’ll in which the vowel which should be in the second syllable is suppressed. This d’ll cannot, however, be articulated with the tip of the tongue like the di. If one wants to pronounce did’ll, first say di and while the tip of the tongue springs forward to the gum, quickly pull the sides of the middle section of the tongue down and away from the gums so that the breath is expelled across and between the teeth from both sides. This pulling away of the tongue gives the impulse for the second syllable d’ll. When this did’ll is articulated quickly several times in a row you will hear how it should sound better than I can describe it in writing.”

Instructions for Practice:

The difference between this description of double tonguing by Quantz and di-ge lies in the second syllable. When you say di, the breath, which has been stopped in your mouth by the tip of the tongue against the back of the teeth, is released. The ge is produced when the raised soft palate, closed at the back of the throat, opens and releases the breath. When articulating d’ll the tip of the tongue remains in place

Practise all articulation syllables slowly and often, consciously “feeling” the consonants behind which the breath is blocked. Repeatedly play pairs of notes on one pitch in the middle register (did’ll – Pause – did’ll – Pause – did’ll). Gradually increase the number of pairs of notes which are played. Ensure that you can really feel the d’ll and that it sounds distinct. Now play all the exercises on pp.36 and 37 using “did’ll”.

78

“If one wants to learn to execute did’ll it is necessary to begin by playing several notes of the same pitch, without finger movements and in the middle of the register (…). This should be practised until all notes can be played distinctly. Add a few more notes. When you have mastered this add some stepwise notes, making sure that the tongue does not move faster than the fingers, as often happens in the beginning. You must always seek to hold the first note with di a little and to make the second, the d’ll, slightly shorter. This is because through the quick withdrawal of the tongue the d’ll receives a sharper stroke.”

Double Tonguing with “did’ll”

11

Repertoire Pieces

Derde, Doen Daphne d’over Modo 5

= 80

di dl di dl

di

di dl di dl

1

• Play the using “did’ll”. • Transpose into G minor for the alto recorder.

di di dl di dl di dl

di

2

79

11

Double Tonguing with “did’ll”

Wat zal men op den avond doen Jacob van Eyck

Modo 6 met Twee-en-dertigh noten in een maet = 69

di di dl di dl di dl di di dl di dl di dl di

1

• Transpose into F major for the alto recorder.

Further Repertoire: Giovanni Bassano, Ricercate/Passagi et Cadentie, Pelikan Edition 975 Aurelio Virgiliano, Ill Dolcimelo, London Pro Musica Edition Bartolomeo de Selma, Canzoni, Fantasie et Correnti, Studio per E.Sc. 38 Bartolomeo de Selma, Three Canzonas, PAN 859, 850 Girolamo Dalla Casa, Divisions on Chansons, London Pro Musica REP 3 Marco Uccelini, Sonata 1 (“Toccata sestra”), Schott OFB 186

80

2

Fingering Chart

Finger Numbers

f

e

d

fis ges

f

dis es

g

fis

gis

ges

e

as

a

g

f

gis

fis ges

ais

as

g

b

h

a

gis as

c

ais

b

a

*) *) Place the foot joint on your knee or thigh so that the end hole is covered. **) Place the foot joint on your knee or thigh so that the end hole is partiallycovered.

cis des

h

ais

b

d

dis

c

h

cis

c

es

des

e

**)

*)