Dominix, Zuchowicz ‘Violas da gama Violins, vio, moder, lassca! and buoate ‘Votes sn other sceabases Exper estortion ” 33 kero cyte a CONTINUO Magazine and Marketplace FREE woodwind catalog of CD's, cassettes, music and books. FREE sample issue of CONTINUO| Call toll-free 1-800-231-2489 SWEETHEART FLUTECO. ‘Baroque Fates: our own "Sweetheart model “Tabor Pipes ies, ageoleties “Insht Flotes & ha Whises, Send for brochure and/or andque atest 32 South Maple Srest "nfl, CT 06082 (203) 749.4498 28 American Recorder OPENING MEASURES ‘The three main requirements ofa recorder are that it must be in tune with itself, i must be responsive throughout the entire range (all the notes must be must be easily playable), and it must sound good. A fur- ther concern for some players is that it fit the hands well (most often a problem for players with small hands or restricted fin- ger movement). Before buying a recorder, you need to decide whether you want plastic or wood, and, related to this, how much money you can spend, There are at last three brands of excellent plastic recorder and many ‘more makers of good wood recorders. Plas- tic recorders are far cheaper than wood recorders of comparable quality. you buy a top-oftheline plastic re- corder by Yamaha, Zen-on, oF Aulos, for in stance, you will have a very good instru- ment, These models are based on Ih-cen- tury recorders and therefore have a true recorder sound. They are in tune and theit Baroguestyle curved and narrow wind: ‘ways allow for tonal control. Tey are not heavy, and the fingerholes ate spaced nat urally so they are easy onthe hands. Also, the quality of individual instruments is quite consistent (See AR, September 1991, fora comparison.) On the downside, they are plastie—not terribly pleasing, aesthetically. Also, since the windvays are rather narrow, with Sut faces that won't absorb moisture, these recorders tend ta clog up. (This is not an insurmountable problem, though. Just warm the instrument very well before play- ing and have a bottle of ant-condensation liguid on hand.) Finally, plain, shiny plas- tie recorders are slippery for those of us with moist hands, This causes players 10 clutch, and even slight clutching will co strict finger movement. However, these three makers of “wood grain" versions that have just enough texture to avoid that slippery feeling—and the wood grain coat ngs look quite nice. ‘You can get wood recorders for prices comparable to the better plastic ones, but they are of lower quality. Cheap wood recorders often have wide, straight wind Some well-chosen words about choosing a recorder ways that give 2 hootyer tone and do not allow for much variation of Blowing and tone (the pitch changes too drastically) Faulty intonation is. another common problem in cheap wood recorders, Also, the high notes are often difficult to play much prefer a recorder with a curved windway, and to get that you must buy a more expensive instrument. ‘Wood recorders clog less than plastic ones. Wood is more pleasing to hold and play on than plastic. Finally, seems (who an measure this!) that wood gives a warmer, more living tone than plastic. ‘Wood's only drawback is tha it can crack. However, ifyou treat your instrument well, you should not have a problem, unless you are unlucky and get an unstable piece of ‘wood. | have never had a recorder crack (kenock on wood!) Ifyou decide to buy a wood recorder you will need to decide what kind of wood youwant. Tolearn about the diferencesin wood types, read Philip Levin's article “Which Wood Should I Choose” in AR, May 1986. Much ofthe difference between recorders of different woods seems to bein the ear of the beholder, so to speak. You must yall different types. Don'tjust buy the cheapest—or the most expensive. De cide what ou like. And ask other players for their opinions an types of wood. ‘What to listen for ‘When buying a wood recorder, try sev eral ofthe same model, They will not be the same, and you need to find one that works ‘yell and that you like, Ifyou ate not confi= dent of your judgment or playing skis, take your teacher or another good recorder player with you to help. No matter who helps you choose, remember that you will be playing this recorder; ifyou don't ike it, don’t buy it You should not buy a wood recorder you can't try out in the store or on approval at home. Ifa dealer will not allow this, or will not agree to take back the instrument fora full refund within about I days if you are not satisfied, you should not buy from that dealer. For those of you who do nothavea good recorder dealer nearyou, there are several musi stores advertising in this ‘magazine tha sell recorders by mail order. You can decide on a particular make and model of recorder by tlkingt a ot of players, and, if possible, trying out their in ‘Once you have decided on one or two rodels, got your recorder dealer and ask to ty several recorders ofeach. You must test each recorder for tuning, responsive ness, and tone 1) Test for general tone by playing some Jong ones in each range—low, middle, and high. Then play a melody that you know well and find easy (so that you have plenty of mind power for listening). Bring apiece of musicifyou need to. Play the same tones and melody on each recorder, one after the other The instant you notice one recorder you don't like, pu away so you can nar row your search. 2) Test tuning by playing slow chro- rmatie sale over the entre range of each re carder. Watch an electronic tuner as you play, being aware of notes for which you have to make unnatural adjustments in breath pressure. (if you cannot playa chro- mati scale, lara to! Or get someone else to do it for you.) Be sure you know the cor- rect fingerings, of yu wil be out of tune. Also, ecorders vay indesign, so check w see if certain notes on that recorder re quire modified fingerings ‘You should also play intervals, espe cially dhe octaves (on the alto) on A,B, 8, Cyand D, ande™evand b- checking wo rmake sue they are not sharp or fla using your own natural blowing. Uf you find a tuning problem on a re corder that you really like in every other way, ask the recorder maker oF technician if that particular problem can be corrected ‘without causing others 3) Test for responsiveness by uying out touchy notes using long tones~ When testing new wood recorders you must keep in mind that they are not used to being played. They will clog up, making it impossible for you to judge tone. Therefore, ‘you must test recorders efficiently, never playing very long at a time on any one instrument. soprano/ako: low C/F; low DIG; bi GA/Ck high C/F (01 - 45). Experiment ‘with ef thurn position onthe high nots. Allthese notes should come out easily acl clearly. Have someone who plays beter thar you test them too if possible For the low notes, play a long tone on cach notebegin blowing very sail grad- ually increasing breath pressure until the note cracks. There should be some space between the beginning and the breaking point. You only need 10 do this once per note on each instrument, Be gentle, Are corder should have fey strong low notes that allow for some flexibly in blowing Listen fora burble on the low G. ‘On the high notes test quick response by playing four rapid staccato notes in @ row on one pitch. The individual noes should come out clearly with minimal “chi” you donot yet have good blowing technique, ask a beter player to test this ‘When you've found an instrument you ike in all dhree areas, buy Further considerations ‘When testing new wood recorders you must keep in mind that they are not used to being played. They will clog up aftr 5 or 10 minutes, making it impossible for you to judge tone. Therefore, you must test recorders effcienly, never playing very long at a time on any one instrument. However, if you fllow the plan above, i won't take you long to choose a recorder: Ifyou can take several recorders home on approval, you can do a numberof test ing sessions spaced over a few days. An other note: never make any kind of mark onarecorder you donot own totelit part from the others. Keep each recorder in or cm its case, and write your comments on posit noes stuck on the cases "think the best bet fora new player isto begin (on soprano or alte) with a topo theline “wood grain" plastic recorder made by Yamaha, Zen-on or Aulos. Once a player has enough experience to krow that they really ke playing recorder, suggest ‘moving on to a high-quality production- line model. Ifa player is very enthusiastic and commited as. recorder player and is willing t spend more, the next step is a hand-made recorder based on historical in struments To choose such an instrument, you have to think alot about what reper toi you lke best, how much solo versus consort playing you do, and talk oa lot of experienced players who are familar with the qualities of struments hy different re conder makers Frances Blaker Finely crafted recorders handmade by master craftsman Thomas M. Prescott Write, call or fax for our free catalog, cre Wont = Makers of Rr Le Grant Road Hanover, NH 08735 USA Seb N66 Pax O4508219 Lenten (@fiienn Ow ae eer aren en ey fener Sarees rae Eateries aCe Puree mar een cee Se i) Harps Historical POST Seen 106 Clermont Road UO E SC ORReS Caan January 1997 29