Mike, thanks for the offer. I'll let you know if I really need it. I have the Westgate recorder but I haven't tried using it yet.

But frankly, once you've used the performance legato woodwinds, I'm afraid you're spoiled for life. That's why I'm hoping VSL works their magic on them.

Best,
Jay

I stole that quote from Dietz? Sorry - and I thought it was so original.

Grabbistab Church?

Who is the minister? [6] ?

@JBacal said:

You don't have to go crazy. Basic single note articulations plus of course 2 dynamics of performance legato.

Recorders really don't have dynamics the way that other instruments do. You can get a pretty good range of timbres by using special fingerings, and some of these are softer or louder, but there's not really a good way to play a descending scale with a crescendo for example

This is a weakness or strength of recorders, depending how you look at it.
(I am a recorder player)

best,
John

@William said:

I stole that quote from Dietz? Sorry - and I thought it was so original.

Actually, I coined the phrase more equivocally, that's why I thought you were referring to a little forum-scandal from a year (or so) back. You didn't steal anything.

All the best,

/Dietz

No, not only the basic articulations, please [:O]
The modern techniques are SOOOO beautiful. A flattertongue on the soprano blockflute is like a bird! And please slaps!

@Another User said:

You can get a pretty good range of timbres by using special fingerings, and some of these are softer or louder, but there's not really a good way to play a descending scale with a crescendo for example

What you can do is play more _ than . to imply dynamics (longer and more connected notes seem louder) by using "tick," "taa," or "doo" tongueings...if that makes sense.

In the 44 years I've been playing recorder, I've never heard of anyone using special fingerings to change the timbre, only to make trills possible. The reason is that there's really only one fingering for every note that sounds good and in tune.

Am I wrong? If so, it would only be the second or third time. [:)]

That applies to all instruments, of course.

"This is a weakness or strength of recorders, depending how you look at it."

Definitely a strength. The rather delicate dynamics in recorders are a major part of their charm.

I wonder if the recorder players here would answer this question - is the legato tool needed as much with recorders as with other instruments? I do not remember noticing a sliding or noticeably portamento legato with recorders, but then I haven't listened to any in a long time and certainly not with sampling of legato in mind.

Defintely needed.

And at least two dynamic layers. It IS a different sound if the player INTENDS to play loud or soft. Same applies to Harpsichord, btw.

William, playing multiple notes in the same breath is the same as on all woodwinds. You don't get a new attack on each one.

The main things with recorder are differences in vibrato (or no vibrato) and the three basic tonguings - although there's also tickatickaticka and doodledoodledoodle for repeated notes, plus variations of all of the above.

Incidentally, the dynamic range at the bottom of the instrument is practically nonexistent, especially low C# (F# on an alto), since you have to blow "just so" to get a good tone.

I have seen a chin-activated lever that opens a small hole in the recorder. The idea is that it lowers the pitch to compensate when you play harder, giving you a little more dynamic range without getting way out of tune. But that's rare enough that I've only seen one, and I don't know whether it works with lower notes.

I suppose this should be in orchestration section, but can you list all the recorders and their ranges?

Common ranges of all recorders I'm aware of are:

Contrabass: C2-D4
Bass: F2-G4
Tenor: C3-D5
Alto: F3-G5
Soprano: C4-D6
Sopranino: F4-G6

I would point out that the recorder is such an easy instrument to learn and so inexpensive these days, and the real instrument is always so much more expressive than even the best samples, that...you might be better off just buying one and learning how to play it [[:|]] [[;)]] [:D]...just a thought of course.

matto

Yes, but there remains the slight problem of recording. And mixing. And reverb. And incorporation in orchestral context. And the fact that there are so many other instruments one could say that about. Like why the hell am I using triangle samples. I could, with diligent practice, become a triangle virtuoso. Well maybe not virtuoso, but at least a competent professional triangle player. However I haven't made that leap. Same story with the anvil, the birdwhistle and the siren.

Thanks for those ranges. I love the consort (is that the correct term?) which uses a complete set of recorders. Especially striking is something with an involved bass line. Those big recorders are marvelous sounding on something like that.

How are you fingering the high D (on the C instruments), Matto? The only way I know of to get above the C is to close the bottom of the tube with your leg for the C#, and that's hazardous to your front teeth!

By the way, it's hard to get good on any instrument. I say that as both a snob and as a recorder player with a stupendous ego. [:)]

You can pick up the basics of recorder playing easily, but you're going to be out of tune and your breath control is going to suck. I've been playing all my life, and my breath control goes when I don't practice all the time.

And i should add that good soprano recorders, which are made out of hardwood, are at least $350. It's not a toy instrument!

[huff]

Don't forget:

KENA, Tin and Low whistles are very important in orchestral writing!!!

PLEASE, Herb!!!!!!!!!!!!!

@Another User said:

By the way, it's hard to get good on any instrument. I say that as both a snob and as a recorder player with a stupendous ego. [:)]
You can pick up the basics of recorder playing easily, but you're going to be out of tune and your breath control is going to suck. I've been playing all my life, and my breath control goes when I don't practice all the time.

Whoa, calm down, Nick [[[;)]]] [[[;)]]] , I meant no offense [:O]ops: . I agree that to be a virtuoso recorder player you have to practice just as much as you would on any other instrument...I'm far from a virtuoso, but I find it easy to play and record parts (on a $30 plastic yamaha) that sound way better than the best samples I've used (the same goes for the pennywhistle, by the way). Sure, I have to do some comping, maybe even autotune a note or two, but the result is so much more "alive" than when you use samples.
Not to mention how you can creatively "abuse" recorders and make them sound like a variety of ethnic flutes...try that with samples.
I've found that even my non-musical clients can often tell if I'm using all samples, but if I put even just 2-3 real instruments in my tracks, it makes the whole thing sound real to them.
So I'd rather spend 2 hours practicing the recorder or pennywhistle or accordion part I've written than spend them tweaking my sampled recorder etc. part in an ultimately futile attempt to make it sound 100% real.
Just my personal preference.

matto

I'm not really offended, Matto. Note the [:D].

Now I want to understand the high D, but I'm confuused.

Using L 1234 (thumb through 4th finger) and R 2345 (index finger through pinkie), please explain which holes get covered.

Never mind, I found it (one of those things my fingers knew but my brain didn't). You're absolutely right.

On my recorder it's pinched thumb, no little finger, and both middle fingers lifted.

But it's very shrill, so you wouldn't normally use it.

This flat-out statement that "the real instrument is always so much more expressive than even the best samples" is not true. Of either recorders or other instruments.

Have you ever had a poor amateur orchestra play your piece and compared that to a VSL performance for example? The samples are a thousand times more expressive. The real situation is not as simple as these sweeping statements.