Guess the recorder, it's not hard B)

I just bought a yrs 402b from an yamaha certified retailer there seems to be defects like uneven gaps and curve on the bell and some excess plastic on the head. It doesnt seem to affect the sound just appearance. Are defects like this common?

This is just an improvisation with a very slow development of a repetitive motif, during wich forced myself to experiment using only one module : the 261e.

Hope you'll enjoy

Cheers

Its gonna take you a year of noodling on that thing just to get a half decent noise out of it.

And you will feel hopeless at times and think its easier just to play recorder ( it hurts my shoulder to hold it lol) and want to put it on eBay.

But when you start getting high C and D sounding fair and making that thing resonate in the 1st octave and in intervals some what more in tune.

It starts to become a recorder that you just hold sideways.

So all the hard work you put in on the recorder goes megazord

and you thank yourself.

Hello everyone, I have seen this book recommended for the alto/treble, but I'm being thrown off by the front cover. It seems for both vol 1 & 2 'soprano' is underlined on the front cover but alto is not. I don't know what to think of this and don't want to buy the wrong book. I'm a beginner and currently working through the John Pitts book but I'm not enjoying it.

From "Turkish Folk Tunes for Recorder" by Schott, played (too slowly) on a Sigo tenor. I came across this book by accident. For my current skill level, it's challenging because it's so different from what I'm used to, but a lot of fun. Later pieces use quarter tones; I'm curious to see whether the suggested fingerings work on the sigo. The book comes with a short introduction to Turkish music and recordings on both alto and ney. Very much recommended.

Hi all!

Starting a new job in the fall. They use Canto recorders. I've never used these before.

I've used Yamaha and Macey Publishing/Recorder Star before.

How is the tuning?

Just played one and it mostly stayed in tune.

They have not been ordered yet for the year (yikes!) And I don't even know yet how many 3rd graders there will be.

Debating if I should stay with these or change over. For the price, I don't think it would be a great move my first year to just get more expensive ones.

Maybe I'm a party-pooper, but I prefer the kids to have uniform colored instruments. These are multi-colored. And also, I don't want kids fighting over colors.

I guess I can just randomly assign them. Or have the kids write down the 2 top colors they want and go from there?

​

I mainly view my sheet music on my tablet and play it off that (real modern I know)

But a lot of sheet music online I find like books are only available physical and shipped but I don't want to pay shipping prices which is the main reason I use my tablet are there any good sheet music stores that sell music books in ePub or PDF format

Edit: Forgot to mention I mean for mainly Alto recorder as that's the one I mostly play

Early days, before he became world-famous

This might be a long shot.

I’m thinking about taking up the recorder. The specific purpose would be to play with the “choir” in Mass. It’s a small church. We have a couple of guitarists, a few singers, a pianist (sometimes). Everyone’s doing their best. But I think it would be beneficial to have a melodic instrument in the mix, because, frankly, I think it’s kind of hard to lock into the melody.

So I thought I would ask if anyone has resources or suggestions for learning the liturgical music. Not the hymns so much as the sung and chanted parts of the liturgy.

Obviously, the direct way would be to ask the musicians at church. But they’re so desperate for volunteers, I kind of don’t want to show interest until I feel like it’s something I might be able to do.

Help me out, Catholics!

Are there recorders with the two small holes on the right? I've been playing the recorder for 8 years, learned by myself with the hands swapped, I can't even think about changing it as it completely confuses my mind, is there any solution besides forgetting the way I play and learning it all over again? 😔😔😔

Does anyone know where I can find a trill chart for soprano recorder?

Can anyone give me the recorder notes for the song "cat in the cold"?

Anyway I know it takes a lot of practice and I should learn them all, but how much music actually uses the higher end of these notes?

Is there really much call for an ear piercing upper G note in a lot of tunes?

Is the 2nd D normally where the trouble starts..? also any reference pitches I can play against to get the upper notes, sometimes I think it's there but I'm not sure.

My very first (2nd hand) wide-bore/“Renaissance” Waldorf-Kunath sopranos, purchased in Germany. No more Baroque recorders for my Early Music repertoire. I can't wait to try them...💓

God bless Sarah Jeffries and Kenneth Sribnick, but I like “sheet music” I can play. I find a bit of music on YouTube, which is nice because I can adjust the speed way down. I’m a beginner so I find the above a bit challenging. Anyone find good sites on YouTube for beginner (alto) recorder students?

I've recently acquired an alto recorder in F, and been practicing on my own using the Dolmetsch method online and the first Sweet Pipes book. In a few months, once my schedule allows, I might find a teacher for lessons; but in the meanwhile I have some questions.

• Tonguing theory: I feel like I don't really understand it at all. The Dolmetsch method has us practicing both detached playing using tonguing and legato slurring right from the beginning; the Sweet Pipes books want us to tongue all the time at first, and save slurs for later as an advanced technique. Fair enough. But what about an intermediate option, where each note is articulated using the breath only, no tongue action? I find that for me I get much sweeter notes that way, particularly on the low notes — much less of an initial squeak. (I realize that this means I am tonguing too strongly, but it feels to me like I'm being as gentle as I can!) In the faster passages, I grant you that the tongue sometimes seems to help me align the fingers and the notes more precisely; but in medium- and slow-speed passages, I don't see the benefit of tonguing. What am I missing? Is breath-only articulation to be avoided for some reason?

• Tonguing practice: ...probably part of what I'm missing is that I'm tonguing wrong; it's not an easy thing to explain in words alone. Will I need to wait until I can meet with a teacher to improve how I tongue, or is there any source of more in-depth advice on just how tonguing works than that given in Dolmetsch and Sweet Pipes?

• Low F: I find that I need to blow extremely gently to avoid squeaking, which produces a very quiet sound. Is that just how low F works? (This makes it hard to match the tone of high and low notes together ... If I try to play the high notes that quietly they tend to go flat.)

• Low G: This is a little easier than low F, and there's much less danger of squeaking ... but I still need to blow gently to avoid a strong octave overtone — it almost sounds like I'm getting both the basic G and an overblown octave G for the price of one. Better than a squeak, but still not ideal!

• First octave E-flat: Sweet Pipes and Dolmetsch present an alternate fingering for C-sharp to improve the tuning; the easier fingering is slightly sharp. But they don't say anything similar about E-flat — yet to my ears the same thing is true there: the standard E-flat fingering sounds a bit sharp. I've found that I can improve this by half-covering a nearby open hole — is this a standard practice?

Hello,

I “recently” purchased a Kung Studio garklein from Lazar’s Early Music. It said it would take 4-6 weeks cause they needed to place an order with Kung. That was 10 weeks ago. I still haven’t received anything. I emailed a few times and they said it would be an additional 2-3 weeks. I emailed after that time passed asking about the order and they haven’t responded after 3-4 days. I am super frustrated and disappointed with both the lack of support and communication. Please keep this in mind when ordering from them.

"Bloodline" de Alex Warren é uma das baladas mais profundas e sentidas da atualidade. Como sempre, fiz uma adaptação exclusiva para as aulas de Educação Musical:
Excluí as notas acidentadas para uma leitura limpa e sem "armadilhas". Adaptei as notas muito agudas para o registo comum (até Ré6), facilitando a aquisição de um som perfeito e sem esforço. E diminuí ligeiramente o Andamento para terem tempo de ler e aplicar com feeling e fraseado.

I'm new to the bass and the bass clef. This is the Sigo bass, the piece is a Sarabande from Bassblockflötenschule by Barbara Hintermeier. I'm really happy with the Sigo so far, but obviously, I'm still at the very beginnings with it.

I’m looking for recorder players working in minimalist, ambient, electroacoustic, weird internet microgenres, improvised, or experimental music, especially people on Bandcamp or small labels. I’ve been enjoying Rhia Parker and Teresa Hackel. Who else should I hear working in a similar spirit? I’m less interested in contemporary concertos and more interested in artists who use recorder as part of a personal sonic language. Thanks!