The University of Sydney

Board of Studies in Music

THE AVANT-GARDE RECORDER

A Preliminary Study of some Recent Developments in

Alto Recorder Playing Techniques, and their Notation.

A Thesis submitted to
The Department of Music
in partial fulfilment of the requirements
for the degree of

Bachelor of Music (Honours: Camposition)

by
IAN LESLIE SHANAHAN.

November, 1985.

Copyright 1985 by Ian L. Shanahan.

 ACKNOWLEDGEMENTS

I wish to express my gratitude to the many people and institutions who

have assisted me in the formulation of this work. Without their
encouragement and support, t his project could not have been realized.

Special thanks must go to Dr. Eric Gross, Associate Professor of Music

at the University of Sydney, for whose unstinting help in all matters
concerning this work and particularly his translation of the many German
texts involved, I am eternally grateful.

The following people and institutions, listed alphabetically, have

been of assistance in providing source materials as well as further
encouragement and aid: Stephen Bull; Corinne D'Aston, Secretary of the
Australian Branch of the International Society for Contemporary Music;
"Charle", who expertly typed the text; Winsome Evans, Senior Lecturer in
the Department of Music at the Uni versity of Sydney; the Inter-library
Loans Department of Fisher Librar y; Meg Matthews, of the radio station 2MBS
FM; Prue Neidorf, Music Librarian at the National Library of Australia;
Howard Oberg, recorder teacher at the N.S.W. Conservatorium of Music; Peter
Petocz; Greg Pfeiffer, who also provided certain electronic equipment; Dr.
Peter Sculthorpe, Reader in the Department of Music at the University of
Sydney; Michael Smetanin; The Sydney Society of Recorder Players; Alice
Taylor, Librarian of the Department of Music at the University of Sydney;
Benjamin Thorn; Richard Toop, Head of the School of Musicology at the
N.S.W. Conservatorium of Music; Rosalind Weisser, Promotions Officer of the
Australia Music Centre.

Finally I wish to thank my family, for tolerating seemingly endless

successions of strange sounds at any hour of the day!
 CONTENTS

Introductory Remarks . . 1
On Instruments and Fingerings 4
On Notation . . . . . . 5
A. Recorder Notations Appropriate for Standardization 6
B. Recorder Notations Inappropriate for Sta ndardization 6
Further Remarks to Composers 7
Further Remarks to Performers 11

Basic Terminology and Symbols 13

A. Anatomy of the Recorder 13
B. Remarks concerning Fingering Tablature 14
C. Pitch Designation 19
D. Registers of the Recorder 20

CHAPTER 1. Articulation. 21
General Remarks 21
A. General Classification of Articulations 24
B. General Remarks concerning each of the
Envelope Characteristics . . . . 25
C. The Notation of Articulations within the Envelope 30
D. Further Articulatory Possibilties 32
1.1 Consonantal Articulations 37
1.1.1 Dental Articulations 38
1.1.2 Guttural Articulations 42
1.1.3 Aspirant Articulations 45
1.1.4 Semivocal Articulations 47
1.1.5 Longitudinal Articulations 49
1.1.6 Lip Articulations 52
1.1. 7 Palatal Articulations 56
1.1.8 Fricative Articulations 57
1.1.9 Sibilant Articulations 60
1.1.10 Reflex Articulations 62
1.2 Vowel Articulations 65
1.3 Coarticulations 70
Articulation Chart . 73
CHAPTER 2. Vibrato .. .
.... 75
General Remarks . .. 75
2.1 Reedy Vibrato .... 79
2.2 Squeeze Vibrato
82
2.3 Tongue Vibrato
. .
83
2.4 Jaw Vibrato
85

CHAPTER 3. Breath sonorities 89

General Remarks . . . 89
General Notations 92
3.1 Breath Sonorities initiated at the Beak 93
3.2 Breath Sonorities initiated at the Window 117
3.3 Further Breath Sonorities: Examples of
Miscellaneous Possibilities 121
3.3.1 Breath Sonorities initiated at the Fingerholes 122
3.3.2 Breath Sonorities initiated at the Upper Tenon 124

Final Remarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Bibliography 131
A. Articles and Pamphlets . 131
B. Books 133

List of Avant-Garde works for Recorder(s) . . . . . . . 135

Discography . . . . . . . . . 143

Appendix . . . 145
A Comprehensive Summary of Technical Resources available
on the Recorder

Errata

Addenda
 INTRODUCTORY REMARKS

Since approximately 1960, a small number of recorder players and

composers have demonstrated and developed many previously unknown or unused
techniques and concepts in recorder playing. Their aesthetic approach, due
in part to the advent of electronic technology in music, has been to regard
the recorder purely as a sonic generator in an attempt to investigate the
full extent of its musical possibilities. These explorations, and in
particular the pioneering efforts of Michael Vetter, have proven to be
fundamental to the further developments that have occurred in Avant-Garde
recorder playing technique. The purpose here is therefore to examine some
of these areas (none of which, it might be said, have been exhaustively or
even deeply penetrated), and in particular to investigate those
possibilities which have been neglected, hopefully pointing the way to
further regions of study. In fact, my examinations have already yielded
several apparently new recorder techniques within those broad areas
peripherally studied by others,l which should provide impetus to further,
deeper research. (I shall carry out a much wider investigation of Avant-
Garde recorder possibilities myself at a later date, this being beyond the
scope of the present work). The information provided here is thus directed
towards both performers and composers, but my aim is that it be applied
also to a much wider musical ambit than the recorder!
Within the areas investigated in this study, the approach taken has
been scientific and systematic, starting with the most elemental technical
and structural principles of the recorder, with the results being obtained
practically rather than purely theoretically. Playing techniques have also
frequently been examined from the point of view of acoustics or electronic
music, this being a truly modern and thorough means of study in such a
field, since its starting point is the very fabric of sound itself.
However, the study is restricted here to the alto recorder (long regarded
as being the central member of the recorder family), but this is not a
serious limitation, as all of the information provided herein can be
translated to the other sizes of recorder, with only an occasional need to
modify the results. Yet the illustrative musical examples are not so
restricted, occasionally because certain notated examples of playing
techniques were found only in relation to another size of recorder.
An interesting paradox that has arisen from the outset of all such
technical explorations is that the principal source of the recorder's

1
versatility and incredibly wide range of musical resources is its inherent
structural simplicity. As one example among many, the recorder's
keylessness admits the natural execution of all kinds of fingering
subtleties and shadings, whereas the complex key mechanisms of the so-
called "perfected" modern orchestral woodwind instruments are in fact a
hindrance in these areas. Hence, what were traditionally regarded as being
elemental musical defects or difficulties arising from the recorder's basic
structure have, in appropriate circumstances, become modern virtues! The
recorder's intrinsic sonic resources thus make it truly an instrument of
the Avant-Garde. Nevertheless, attendant with this same lack of physical
sophistication in the recorder is also the need for very high levels of
technical mastery. Therefore, any attempt to alleviate the resultant
complexities through structural elaboration or "improvement", would in fact
be clearly detrimental to the instrument's inherent capabilities. These
same resources are furthermore vastly enriched by the fact that most
techniques are able to be combined in a multitude of ways with almost any
other technique. In fact, several technical areas are interrelated or
derived from one another, as will become apparent. In such cases, the
dividing line between these areas may be very difficult or even impossible
to discern, and this in itself can be a resource, as one then has a means
of moving freely between seemingly different regions of technique. For
example, a fingervibrato in certain circumstances may be regarded as being
a microtonal trill, or certain breath-generated vibrati, when exaggerated,
encroach upon the area of glissando! (If one desires to distinguish
between such techniques yielding similar or indeed identical sonic results,
the musical context in which the sonority appears is solely utilized).
Most Avant-Garde recorder techniques may also be viewed as being
logical or natural extensions of traditional technical resources and
fundamental principles: many microtonal fingerings are derived from
chromatic fingerings (whether traditional or not) by applying the same
basic principles which generate almost all fingerings; the elemental
technique of overblowing, which yields 2nd- and higher-register notes on
the recorder, may be exactly reversed to give its Avant-Garde counterpart
known as "underblowing", both techniques consequently being responsible for
the manifestation of most multiphonics; the same air-stream which is
utilized in the process of blowing the recorder is also able to excite the
player's vocal cords as it passes by them, so that vocal sonorities can be
realized simultaneously wi th the playing of the instrument. With some
justification Avant-Garde musical resources are alternatively referred to

2
as "extended techniques"! This same concept of extension has furthermore
been applied by composers to the global areas of compositional style and
structure (quite apart from the obvious case of Avant-Garde techniques and
notations having, by themselves, the potential to give rise to Avant-Garde
styles or structures). Some Western composers of Avant-Garde recorder
music have, for example, extended their musical horizons to include non-
Western musical traditions: the recorder part in John Casken's Thymehaze
is evocative of the shakuhachi, a Japanese end-blown bamboo flute; the
pitch structures of Richard David Hames' Ku are derived from the sonorities
of the sho, a mouth organ-like instrument which appears in Japanese gagaku
music; the textures of David Loeb's Variation are based upon heterophonic
procedures common in many Oriental musics. 2 Conversely, some non-Western
composers have displayed an interest in combining Oriental and Occidental
musical practices and philosophies: the recorder works of the Japanese
composers Ryohei Hirose, Maki Ishii, Kikuko Masumoto, Keiki Okasaka and
Makoto Shinohara, for example, cultivate the playing techniques of the
traditional Japanese shakuhachi whilst simultaneously illustrating many of
the characteristics of the mainstream European Avant-Garde.
Certain Western composers have furthermore applied the concept of
extension within their own musical traditions by displaying formal links
with historical notions and structures which formerly applied to the
recorder, or even by basing a recorder work utilizing Avant-Garde
techniques upon a particular example of early music! (Such applications
are enhanced by the fact that the recorder itself has an extensive and rich
musical tradition). Many instances of this phenomenon in Avant-Garde
recorder music have chosen the time-honoured musical principle of theme and
variation(s), often as manifested in the Renaissance practice of
em bellishmen t, "divisions" and improvisation: Colin Sterne's Meadow,
Hedge, Cuckoo is a collection of five variations derived from an ayre by
John Dowland, yet the piece demonstrates several Avant-Garde recorder
techniques; Peter Scha t' s Hypothema is an extension of a van Eyck
division; Hans-Martin Linde's Amarilli mia bella may be regarded as being
a set of Avant-Garde divisions commencing with the Caccini tune of the same
title and a van Eyck division on it; part of Gerhard Braun's recorder piece
Recitatives and Arias uses some music of Monteverdi as its basis. Further
examples of this nature are abundant. Thus, at both the microscopic level
encompassing recorder technique and the macroscopic level of style, idea
and structure, Avant-Garde and traditional procedures involving the
recorder may be combined naturally through the concept of extension, or

3
uniquely juxtaposed in order to create musical perspectives peculiar to the
instrument. This modern approach has given the recorder renewed life as an
Avant-Garde instrument, being one of the oldest and yet one of the most
modern and versatile.

On Instruments and Fingerings

For techniques where the specific results are dependent upon

fingerings, this study assumes a high quality instrument of modern design
in the English/Modern fingering system. Such an instrument would usually
be made of a hard wood such as rosewood, boxwood or ebony (or occasionally
plastic), and would possess a rather wide windway in the vertical
direction, double holes for both the right hand ring and little fingers, as
well as a fairly narrow bore. 3 This criterion excludes replicas of
historical instruments (which often employ different fingering systems due
to different bore characteristics and may have only single fingerholes and
narrow windways), as well as wide-bore schoolchildren's instruments, though
it is strongly emphasized that all techniques which may be executed
independently of fingerings may potentially be applied to these types of
recorder. Furthermore, some techniques are applicable only to (high
quality) plastic recorders, which are manufactured up to and including the
tenor size (though plastic altos are far more common and of higher
quality). Plastic instruments are used where the nature of the technique
would probably prove to be injurious upon application to recorders made of
wood, in particular those techniques involving immersion in water or direct
contact with the labium, such as in "preparing" a recorder (which may also
require an instrument with a movable block!).
The type of modern instrument assumed above is the one most commonly
utilized by professional and advanced amateur recorder players in the
performance of modern recorder music, and despite the fact that fingerings
have been tested on a few available instruments only, more-or-less uniform
results concerning fingerings can be expected with this type of recorder,
due to some degree of standardization in instrument design. Nevertheless,
fingering charts still may not be universally applicable, and should never
be considered to be absolute in every detail, as some variations in the
sonic result and manner of execution may occur between different
instruments when the same fingerings are applied. One should approach all
fingering charts with the attitude of regarding them as being a starting
point, deriving workable solutions from the fingerings provided, if

4
necessary, and rejecting fingerings which do not give the desired results
even when modified. This approach is particularly pertinent when dealing
with charts for very high notes, notes with manipulations of the end of the
foot joint, microtones and multiphonics, as recorders unfortunately are not
as yet designed with the standardization of these techniques in mind. The
same procedure should also be applied concerning fingerings provided in
scores, unless of course the composer clearly gives instructions to the
contrary when such compromises are necessary or no perfect solutions exist.

On Notation

The discovery and codification of new recorder techniques has given

rise in addition to the problem of new, varied and potentially confusing
notations manifesting themselves. Despite the fact that a small degree of
notational uniformity is gradually being established within certain domains
of Avant-Garde recorder practices (for example, in those general areas
common to all relevant contemporary musics), the widespread lack of
notational standardization in Avant-Garde recorder music, the common
appearance of misleading notational (and technical) explanations together
with the false assumption made by some composers that Avant-Garde recorder
techniques and notations are already widely practised and understood, (as
evidenced by incomplete prefatory remarks and instructions to their
scores), compounds the problems of introducing recorder players to the
Avant-Garde repertoire. Furthermore, notations themselves are frequently
misleading or incomprehensible, so that a lack of standardization often
forces the performer in such cases to improvise a solution. This is
naturally extraneous to the problems resulting from the inherent
difficulties of most Avant-Garde recorder techniques themselves! The need
for a systematic approach and recommendations towards standardization of
notational procedures in Avant-Garde recorder music is therefore abundantly
clear.
The approach taken in this study has thus been to adopt the notational
recommendations and procedures as proposed in the International Conference
on New Musical Notation 4 held at Ghent, Belgium in October 1974, and the
subsequent results as published in Kurt Stone's treatise. This is
supplementary to the examination of approximately 100 examples of Avant-
Garde recorder music and the study of Ursula Schmidt's manual on the
notation of new recorder music,S carried out in order to see what has
already been achieved in this area. (Such an examination can never be

S
complete as new compositions are always appearing). Nevertheless, the
following guidelines have been applied:

A. RECORDER NOTATIONS APPROPRIATE FOR STANDARDIZATION

1. Notations (which may already by partially established) corresponding

to certain techniques which are peculiar to the recorder, have been
critically examined and, if necessary, adjusted according to the
criteria stated below.
2. New recorder techniques yield certain notations which have been
recommended according to the criteria stated below.
3. In general, where a recorder technique has an analogous procedure with
an established notation in other instrumental families, this same or a
similar notation has been correspondingly recommended, if necessary
overriding any previous recorder notation for the same technique
(irrespective of its degree of establishment already achieved).
4. Where possible, Avant-Garde recorder notations that are an extension
of traditional notations have been recommended.
5. Where possible, recorder notations that lend themselves to immediate
recognition and are as self-evident as possible have been recommended.
6. Where possible, recorder notations that are spatially economical have
been recommended.
7. Given a choice and subject to the above criteria, recorder notations
that have already received a relatively wide degree of acceptance have
been recommended.

B. RECORDER NOTATIONS INAPPROPRIATE FOR STANDARDIZATION

1. So-called "graphic" notation, unique to the composition in which it

appears, is not suited to standardization, as the notation is usually
an integral part of the creative effort. Purely graphic recorder
pieces, such as Louis Andriessen's Paintings, Sylvano Bussotti's Rara
and Michael Vetter's Rezitative, are futhermore excluded from
technical discussions in this study, as such music is not concerned
with nor does it illustrate specific techniques themselves.
2. The notation of procedures so rarely used or specific to a particular
situation only, may not be suited to standardization, in which case
verbal instructions would be more efficient than symbolic notations in
the given situation.

6
3. Certain Avant-Garde philosophies or concepts may be inappropriate to
or even incompatible with traditional or indeed any symbolic notation,
and so may not be suited to standardization, in which case verbal
instructions would be more efficient. Such cases may include the
interface of the recorder with electronic technology or
theatrical/visual elements.

Where possible, a discussion of notational procedures for each

recorder technique covered follows the discussion of that technique. Also,
more than one notation for each technique has occasionally been proposed,
so that the notation chosen should be the one which is most efficient with
respect to the organizational principles that underlie the particular
composition. Ultimately, since all notations suggested in this study are
chosen partly on the basis of personal opinion and are merely
recommendations, the composer, having considered the various arguments and
proposals, must make the final decision as to which notational procedure is
consistently utilized for each situation.

Further Remarks to Composers

Many Avant-Garde sonic effects produced on the recorder manifest

themsel ves and are largely moulded directly as a resul t of the inherent
constructional features of the instrument, rather than purely being a
direct consequence of the composer's imagination. The instrument therefore
becomes the composer's stimulus, and this points to the need for composers
to work closely with performers in order to actually hear and become
familiar with the sonorities with which they will be working. Such sounds
cannot otherwise be imagined, yet a good solution to part of the problem is
to have the performer record the sonorities on tape. 6 This is the sensible
approach that the German composer Jurg Baur, for example, took in working
with the recorder player-composer Michael Vetter, who recorded
approximately 30 multiphonics for Baur to choose from. 7 Nevertheless,
composers still must have the performer test the techniques within the
context of the composition in which they appear, rather than just slavishly
copying sonorities from a technical manual such as this. Furthermore,
composers should bear in mind the limitations that players may vary from
one another in their ability to execute different Avant-Garde techniques
(often because of immutable physical characteristics) and that such
techniques require an increase in rehearsal time for the performer. This

7
latter remark is made purely for practical reasons, as often the techniques
are unfamiliar, and their fundamental technical difficulties are greater
than traditional practices. Ultimately, the collaboration between
performers and composers should yield new and fruitful results,
particularly concerning complex Avant-Garde techniques as yet barely
examined (such as the simultaneous playing of more than one recorder),
where the present technical uncertainty absolutely necessitates composers
consul ting with agreeable and competent players. Here, time will bring
forth many practical examples from which patterns will emerge, illustrating
what is possible and what is not, hence clarifying the general area between
extremely difficult and impossible technical demands (bearing in mind the
abovementioned limitations). This process has already begun to take place
regarding certain Avant-Garde techniques for various instruments.
The composer also has a responsibility to provide precise technical
details, such as fingerings 8 and verbal directions in the score, as well as
a glossary or footnotes covering every Avant~Garde technique and notation
utilized, the latter being necessary due to the present unfamiliarity of
Avant-Garde recorder techniques amongst most players. Most importantly,
the sonic result as notated must correspond as precisely as possible to the
technical instructions given as to how it may be achieved. For fingering
indica tions in particular, this may be difficul t for reasons previously
discussed, yet the composer should be aware of the problems and take
appropriate action by informing the player of the procedures to be adopted
in such instances. If such a consideration is ignored confusion may well
result:

8
Ex. 0-1. Hans-Martin Linde: Music for a Bird . No.1. (Alto Recorder)

Music for a Bird

Hans-Martin Linde
(1968)
Libe ramente
~('II:a r'i l" . ,-- -
1~2?=?==>~Jt == >- cc:::::::::::::

(- 3 ) (+ 3 )

pp
, -- -------- -,
CO li f'i ln.
,
~ ~ J;t 25SiJc$?fu

, ---- ---,

II
0134 ~!!

f =======---ppp

In this example, a confusing discrepancy between the fingerings

employed and the written result has arisen. It has been deduced from
Linde's rendition of the piece 9 that he has adhered to the given fingerings
irrespective of the resultant sound, which does not necessarily correspond
to the written notation, and has furthermore utilized inaccurate fingerings
not given in the score at this point. Such a situation puts an intelligent
player into a quandary as to whether to ignore the fingerings as given
(modifying them in order to correspond to the musical notation) or
dogmatically adhere to them (thereby ignoring the musical notation).
Specifically in the example, Linde's fingering 10 for A; in the glissando of
the first system yields A~, and the fingerings he appears to use for A~ and
B; are Q123451 and Q123461 respectively - the latter is used in No.3 of the
piece - which yield instead ~A~ and li2 The same fingerings are also
employed in the appropriate places in the second system. (Note that the
brackets above certain groups of notes indicate a free repetition of notes
in the group, in any rhythm). The composer must therefore provide a
solution for the performer in such instances. That is, a remark must be
included clearly instructing the performer either to modify the given
fingerings, if necessary, in order to achieve the sonic result

9
corresponding to the notation, or strictly adhere to the fingerings as
given and ignore any possible discrepancies arising. The former procedure
is by far the most common and logical, and is utilized, for example, in
Neil Currie's Stopping by Woods on a Snowy Evening: "The fingerings, ... ,
may need slight adjustment on account of the peculiarities of a particular
instrument"; Konrad Lechner's Varianti: "It might prove necessary to adapt
the gi ven fingering to the instrument employed"; Gerhard Braun's
Nightly Visions: "It will be neces sa r y to experiment with different
fingerings in the effort to arrive at a solution approaching (the)
objective as closely as possible" and Konrad Lechner's Spur en im Sand:
"Alternati ve solutions may ha ve to be worked out depending on the bore of
the instrument". (Several other examples also exist). Conversely, Richard
David Hames' Ku is virtually unique in demanding the latter procedure:
"Fingerings should be strictly adhered to".2 Naturally, it is best if
fingerings, and indeed all technical instructions, can be provided which
accurately reflect the music as notated in the first instance!
A remark arising out of what has just been said is that where
applicable, composers should also provide an additional prefatory verbal
description of the intended sonic result, and not just the method of
achieving it, in order to avoid any ambiguity and to assist in the
orientation of the performer. Otherwise confusion may well result. For
example, in Ryohei Hirose's Idyll I, the followin g request is made without
any reference to the resultant sound: (p.14) "Cover approximately two
thirds of lip window with a finger tip of right hand. Play at random,
using left hand fingerings for following tones; [LS.] Al to C1, D1, E1,
F~." For each of these fingered pitches, Hirose's procedure flattens the
note slightly and modifies the timbre, yet there is some doubt as to
whether this is the composer's intention, since small deviations in the
amount of window coverage here yield quite different sonorities.
Furthermore, the composer's notation, though accurately reflecting the
musical situation, provides no assistance in this matter.
Ultimately however, it is crucial that composers realize that many
of the developments in Avant-Garde recorder possi bili ties fall into the
uncomfortably narrow region lying between legitimate technique and cheap
effect. This must constantly be considered, for care must always be taken
to avoid gimmicks, this being solely dependent upon how the composer puts
the sonority to use in the music. Here the artistic regard for their own
music and indeed the recorder itself is at stake.

10
Further Remarks to Performers

Recorder players should realize that certain Avant-Garde recorder

techniques are not solely applicable to contemporary music. Some of the
results recent research has cast light upon have potential use in Baroque
and Renaissance performance practices. For example, one may also find
applications for modern trill charts with newly-documented fingerings in
the performance of Baroque embellishments, and contemporary approaches to
articulation may additionally find a place in many historical performance
practices! Furthermore, by the determined practising of Avant-Garde
recorder techniques, themselves requiring much perseverance, the player's
traditional technical faculties are enhanced: the execution of the
subtleties involved in most multiphonic procedures increases one's breath
control, and the performance of accurate microintervals vastly improves the
player's sense of intonation. It is hoped also that all players will come
to value the existence of fingering tables, despite their inadequacies.
Their value lies in the fact that given a complex sonority such as a
multiphonic, without the chart it may well be very difficult or even
impossible to find a fingering for it Cassuming one exists at all), or to
predict the sonic outcome of varying a technical parameter such as
articulation or breath pressure.

It is necessary now for all recorder players and composers to get to

know the full, vast capabilities of their instrument and keep up to date
with new developments, this being vital in order to maintain or enhance the
artistic regard and vitality of the recorder. Indeed, from the very start
of the Avant-Garde explorations, pioneering and experimental recorder works
were already being written.

Notes

1. In the text, section headings for which there are apparently neither
musical examples nor literary references with respect to the recorder,
shall be superscripted with two asterisks C**). Where only one of
these sources has appeared in reference to a particular technique, its
section heading shall be superscripted with a single asterisk C*).
This procedure also applies to certain miscellaneous techniques, which
shall be superscripted accordingly upon their first appearance in the
text.

11
 2. See the remarks which preface the relevant scores.

3. Technical terms relating to the physical characteristics of the

recorder are explained in Basic Terminology and Symbols.

4. Stone (1980): pp.336-7.

5. Schmidt (1981).

6. I shall compile an exhaustive recording of all sonorities presented in

a later investigation.

7. Anon. (1964): p.127.

8. Fingering indications and their placement in scores are discussed in

Basic Terminology and Symbols.

9. See the Discography and List of Works.

10. This number tablature operates as follows: 0 corresponds to the left

hand thumbhole, 1 corresponds to the left hand index fingerhole, 2
corresponds to the left hand middle fingerhole, etc.; a line beneath
a number denotes a partially opened fingerhole ; the absence of a
number denotes an open fingerhole; + (plus) or - (minus) to the left
of a number denotes the addition or subtraction of the corresponding
finger where indicated, respectively. The various fingering tablature
systems as well as pitch designations are discussed in Basic
Terminology and Symbols.

12
 BASIC TERMINOLOGY AND SYMBOLS

It is necessary, prior to beginning any technical discussion, to provide

preliminary definitions or clarifications of special technical terms and
symbols that may occur frequently in the text.

A. Anatomy of the recorder

In the following cross-sectional diagram showing the separate sections

of the recorder (Fig. 1), alternative or less common terminology is given
in parentheses:

Fig. 1.

SEAOINC, \oIINDO,""

SEtK ~ / r= LABWK (LI P, LANc.,uETT E')

r-I-~~~
'''"W'' _: '?~ ~~~~~ ~ ~ ~ ~~~_R~~~-_-_-:~~~;~-
HEAO :rOI/>lT (HE40PIEC.E)

Note that both tenons (on wooden instruments) are lapped with cork or
thread, and that the term "window" actually refers to the whole area of the
headjoint encompassing the labium, the edge and the vertical walls
surrounding the labium (not clearly apparent in Fig. 1), as well as the gap
between the bore end of the wind way and the edge. The term "voicing"
furthermore refers to the distance between the edge and bore end of the

13
windway, the chamfer of the block opposite the edge (as shown in Fig. 1)
and the slope and width of the labium. (The voicing and bore
characteristics of a recorder to a large extent determine its sonic
properties). Occasionally one also finds an alto recorder with a thumbrest
for the right hand attached to the under side of the middlejoint, and
frequently plastic instruments are provided with special (plastic) caps to
cover each tenon when the instrument is disassembled. (Such caps have
potential application for certain Avant-Garde recorder possibilities).

B. Remarks concerning Fingering Tablature

Recorder fingerings in this study, apart from some given with

the musical examples, are specified pictorially, with the fingerholes and
end of the foot joint represented as in Fig. 2. The normal disposition of
the player's fingers is also given. (Note that the right hand ring and
little fingers operate both of their respective double holes).

Fig. 2

Wi thin this framework, for each fingerhole we have the following

possibilities, in which the order of presentation indicates a successively
increasing amount of fingerhole closure:

1. 0 Open fingerhole.
2. t6 Slightly closed (shaded) fingerhole.
3. <.il () I) Fingerhole approximately half open. The orientation of the
symbol corresponds to the actual physical situation involved,
so that the symbols apply to the left hand thumb, the other
left hand fingers and the right hand fingers respectively.
Slightly opened (vented) fingerhole.
4. "
5. Closed fingerhole.

14
In 2, 3 and 4 of the above, the symbols do not represent an exact amount of
finger hole closure, as this must vary according to the particular musical
requirements at hand. Hence these symbols are purely relative. Note too
that in some circumstances, the normal or standard fingering (if one
exists) could be represented by "N", 1 "norm." or "ord.", the chosen symbol
being placed beneath the stave underneath the corresponding musical
notation. Concerning the end of the foot joint, the following possibilities
also manifest themselves:

6. 0 The end of the foot joint is open. This symbol is not normally
utilized, except in the cases of techniques involving various
manipulations of the end of the foot joint, as in Fig. 3.
Where symbols for the end of the foot joint are omitted
altogether from a fingering tablature, it is assumed to be
open (as is normally the case).
7. B The end of the foot joint is slightly closed.
8. ~ The end of the foot joint is approximately half closed.
9 The end of the foot joint is almost completely closed.
10 A complete, airtight closure of the end of the foot joint.
11. fl The end of the foot joint is slightly covered with a piece of
cloth.
12. EI The end of the foot joint is approximately half covered with a
piece of cloth.
l3. % The end of the foot joint is almost completely covered with a
piece of cloth.
14. IZJ A complete, but non-airtight covering of the end of the
foot joint with a piece of cloth.

Symbols 7, 9, 11 and 13 are theoretically possible, but would very

rarely be used in practice, as symbols 8 and 12 in many instances can be
subjected to fairly wide variation with negligible alteration to the sonic
result. Furthermore, it is generally very difficult to achieve the degree
of accuracy required here in partially closing or covering the end of the
foot joint. This area of recorder technique has been barely studied.

The above tablature system is frequently extended to include other

possibilities, which need not be independent of one another. The most
important of these concerns a (rapid) alternation of two fingerings, which
occurs, for example, in trills, tremoli and several varieties of vibrati.

15
This is indicated by the placement of a dash (or dashes) in the tablature
to the right of the initial fingering, indicating the finger(s) involved.
Also in some instances, for particular techniques such as the trill
glissando or certain slow timbral transformations, one or more broken lines
pla ced to the right of the initial fingering may be used to indicate in the
same manner a gradual transition from one fingering situation to another.
(A constant rate of change is assumed, unless otherwise directed). Both of
t hese notations shoul d pr ecisel y indicate the actual physical movement(s)
involved. The following examples should make this clear:

Fig. 3

(q) (b) (c..') ".

-0
fII

0
<1-0

0
0-.
0

0

.0-00
00
00

DO

(~)
.-0

---------..,.0 (g)

o


0
o

.-0
-00 00
o
00
00 00
00
D-----~~

(of).
. - 0 - - -- -- - ..J!I - 0

o 0
o 0
00--------..,
00- - - - - - - -..,

In Fig. 3 (a) and (b), the tablature clearly shows the rapid
oscillation of the appropriate fingers between their two given positions
whilst the rest of the fingers remain stationary. In (c), though no
fingers move, the end of the foot joint is rapidly oscillated between the
closed and open positions. In (d), the right hand middle and ring fingers
oscillate continuously as shown, whilst the thumbhole is gradually opened.

16
At the instant the thumbhole is completely open, the fingering changes to
the one indicated and the trilling movement ceases. Fig. 3 (e) shows the
end of the foot joint being gradually covered, with no other finger
movement. Fig. 3 (f) displays a complex situation where the right hand
ring and little fingers gradually cover both of their double holes whilst
simultaneously, the left hand ring finger (which at first is alternately
opening and closing its fingerhole) gradually transforms its trilling
movement into the one indicated in the second fingering. Note that in
general, the second fingering in such tablatures mayor may not be
tabulated in full, one choosing the particular tablature type which most
clearly indicates the objective.

A further extension to this tablature system concerns the

specification of optional procedures in a given fingering situation. This
is carried out by placing squared brackets around the portion of the
fingering which is o ptional. Furthermore, when two or more optional
procedures are specified within the one fingering situation, they should be
completely independent of one another. This gives rise to the following
individual possibilities, which may freely interact between themselves:

1. Examples of the optional closure of fingerholes in varying degrees.

(a) leJ The fingerhole may be left open or closed in any amount

(b) (.oJ
up to and including

Both double holes may be left open or closed in any
amount up to and including ..,
2. Examples of optional closure or covering of the end of the foot joint
in varying degrees.
(a) [8] The end of the foot joint may be left open or closed in
any amount up to and including ..
(b) [l~J The end of the foot joint may be left open or covered
with a piece of cloth in any amount up to and including
~
3. Examples of optional procedures in the (rapid) alternation of two
fingerings. (Thes~ are applicable to all of the examples in 1 and 2
above)
(a) [.]-0 The rapid alternation of two finger positions, with the
fingerhole in the first position being optionally closed
according to l(a) above. (Note that in fact, if it is
left open, no trilling movement occurs at all).

17
 (b) .1":-0J The finger hole must remain closed or be optionally
trilled upon, as indicated.
(c) [e-oJ The fingerhole must remain (partially) closed or open
according to l(a) above, or be trilled upon as in 3(a).

Equivalent examples of optional procedures may be deduced regarding a

gradual transition from one fingering situation to another, merely by
replacing the dash with a broken line in 3 above. In summary, as a general
principle here, the symbol in squared brackets defines the upper limit of
action to which the optional procedure may be applied. It should also be
stated that all of the fingering tablatures discussed above, when put into
application by composers, are to be placed beneath the stave directly
underneath the musical notations for the sounds to which they correspond.
This pictorial method of specifying fingerings offers many advantages
over the other type of tablature system, which is very commonly utilized
and basically consists of using numerals to represent the fingerholes,
supplemented by further abstract symbols to indicate the varying degrees of
fingerhole closure or other considerations. The pictorial tablature (being
presented vertically) is designed to show a direct correspondence between
the fingering representation and the actual physical situation of holding
and playing the recorder, and thus allows a swift overview and intake of
information, so that the player is quickly oriented and the tablature is
rapidly converted into sound. Furthermore, this tablature system
inherently allows a far greater degree of precision in all aspects of
fingering specification, than the number tablatures (which proliferated
only in order to avoid a general informational overload of abstract musical
symbols). The number tablatures are additionally incapable of adequately
showing manipulations of the end of the foot joint or gradual fingering
transformations, and cope with (rapid) fingering alternations only at a
basic level. They are also prone to confusion amongst themselves if the
particular number representing the recorder's thumbhole is not clearly
esta blished. Nevertheless, let it be finally pointed out that the
advantages of pictorial tablatures will be quickly dissipated if they are
not well presented. Composers, for example, should take care to draw them
clearly and accurately, and large enough to identify easily and to be able
to differentiate instantly between the various symbols utilized.

18
c. Pitch Designation

When pitch-names are given in the text, they are labelled with a
numerical subscript which indicates the corresponding octave in the regular
range of the recorder in question. The subscript 0 is used to indicate the
first octave below this regular range, within which pitches are produced as
a result of applying certain Avant-Garde recorder playing techniques. This
pitch designation system is useful and flexible, as it can be applied to
all sizes of recorder without alteration, unlike the confusing
proliferation of other pitch desi gnation systems which specify pitch
absolutely in a multitude of different ways. Note however that one must
clearly state the size of recorder being referred to, in order to define
fully the actual pitch under consideration. Fig. 4 outlines this pitch
designation system in terms of the alto recorder,2 to which all pitch-names
given in the text will refer, unless otherwise specified:

Fig. 4

1\

Within this scheme, quartertones and microtones are specified as follows:

l. ~ ,t and t denote a pitch a quartertone higher than ~ , ~ and

t , respectively.
2.
~ , l and 1 denote a pitch a quartertone lower than ~ , ~ and
:W- , respectively.
3. i or ~ , placed to the left of a pitch or its pitch-name in the
text, denotes a deviation away from this given pitch or pitch-name of
less than a quartertone sharp or flat respectively.

In order to avoid possible confusion, let it be stated that F~ , as given

in Fig. 4, is the lowest note in the regular range of the alto recorder, so
that an ~F9 or F~ written in the same place on the stave should
technically be referred to as tF~ or F~ respectively, with similar
results being deduced for the other octaves and sizes of recorder.

19
D. Registers (of the Recorder

The registers of the recorder, defined in terms of standard

fingerings, are as follows: 1st register ~ to G~; 2nd register A~ to D~;
3rd register E~ to F~. For notes higher than G~, the concept of standard
fingering virtually ceases to exist, so that one needs to know the
fingering being referred to in order to place the corresponding pitch into
a register.

Notes

1. This abbreviation is used, for example, by Hans-Martin Linde in his

Funf Studien. (See the preface of the score).

2. In referring to the instruments of the recorder family, I have chosen

to use the (German-American) nomenclature sopranino, soprano, alto,
tenor, etc., as this is the standard terminology for most other
instrumental families.

20
 \ 1. ARTICULATION

General Remarks

One can define articulation on the recorder as being the process

whereby air-flow is initiated, sustained and terminated in the instrument
by the various articulatory organs. The character or manner of
articulation is principally determined by the way in which the air-stream
is modified or affected by these articulatory organs, which are presented
in Fig. 5:

Fig.5 1

[The articulatory organs are either stationary or movable articulators.

The movable articulators consist of the lips, jaws, tongue and vocal cords,
all of which modify the breath-flow from the lungs, whilst the stationary
organs are the teeth, the alveolar ridge or arch (always referred to in
this study as the teeth-ridge), the hard palate, the velum (soft palate)
and the uvula. J

Because of the immutable, inbuilt structure of the recorder's basic

sound production mechanism 2 - traditionally but incorrectly held to be a
serious technical limitation - the concept of embouchure formation in order
to produce a musical sound does not arise here as a basic principle, as the
performer merely generates an air-flow in the recorder and the instrument
itself forms the sound to a large degree. This gives rise therefore to the
possibility of creating considerable variation in the position of the
articulatory organs (without the risk of the instrument failing to sound),
and hence to an articulation field of unprecedented scope. (The same

21
premise is furthermore responsible for the manifestation of certain
artic~lation-related vibrati and breath sonorities discussed in Chapters 2
and 3 respectively). For example, lip articulations (Section 1.1.6) create
no extra performance difficulties on the recorder, yet for reed, buzzed-lip
and other edge-tone wind instruments, such articulations are quite awkward
(in varying degrees), as for these instrumental categories the lip position
is somewhat fixed due to embouchure considerations.
Articulation in this study is thus approached from the point of view
of acoustics and electronic music in that the envelope phenomena - attack,
sustain and release characteristics - of the articulation are examined, an
approach already implied in the initial definition! One may regard this
manner of analysing the envelopes of individual sound-events (notes) as
micro-articulation, leading (particularly through the sustain
characteristic of the envelope) to the macro-articulatory possibilities
concerned with the linking and relating of such sound - events - the
interface of the various micro-articulations - in order to define larger
musical structures such as bars, metres, rhythms and phrases. A
consideration of micro-articulation is also fundamentally necessary for
another reason, as research in the fields of psychoacoustics and
information theory has demonstrated that much of the "information" in a
sound - that is, its distinguishing timbral features - is contained in
transient phenomena within the attack and release characteristics of the
envelope. 3 It is possibly for this reason that performers intuitively
cultivate a broad articulation palette for the purpose of maximizing their
instrument's expressive potential. Indeed, certain composers represented
in the musical examples of this chapter have already shown considerable
interest in the micro-articulatory capabilities of the recorder; the
compression of whole musical events and processes into small, single units
is an important concern in some areas of Western Avant-Garde composition.
Nevertheless, in order to investigate completely the articulatory
capabili ties of the recorder within the area of micro-articulation, and
develop the latent possibilities there, it will be necessary to carry out a
detailed examination of (articulatory) phonetics, including a study of all
characteristic sounds employed in as wide a range of languages as possible,
as well as an investigation and development of theoretically possible non-
lingual articulations, (longitudinal articulations (Section 1.1.5) perhaps
already being an example of this). Such research, already begun as will be
seen, is of course beyond the scope of this present work, but shall be
carried out by myself at a later date. At this point, it should be

22
emphasized that even though articulation techniques and possibilities on
the recorder have already been extensively discussed in important historic
and didactic treatises such as Sebastian Virdung: Musica getutscht und
ausgezogen (Basel, 1511), Sylvestro Ganassi: Opera Intitulata Fontegara
(Venice, 1535) and Jacques Hotteterre: Principes de la flute (Amsterdam,
1707), these works are concerned merely with the problems and applications
of articulation within Renaissance and Baroque musical practices, and hence
can only provide a starting point for the study of contemporary recorder
articulation possibilities.
The limit of the available and potential possibilities for each of the
envelope characteristics within the micro-articulation system of the
recorder is thus defined precisely by the limit of human articulatory
capabilities! Not for nothing is the recorder frequently referred to and
treated as an extension of the human voice, even in more traditional
performance practices. The possible syllables arising (as determined by
combinations of alphabetical letters - if available - or phonetic symbols)
which characterize the envelope as a whole indeed incorporate the
possi bili ties of all human languages, the use of unusual syllables
naturally giving an extremely wide range of articulation colour. This
incorporation is frequently illustrated by the technique of singing words
into the recorder concurrently with generating an air-flow in it, as in the
recorder piece Gardinenpredigt by Klaus Hashagen (which, for example,
utilizes terms of abuse from several languages). The articulation
possibilities therefore manifest themselves here when the player's vocal
cords, the vibrations of which are independent of the rest of the
articulatory mechanism, merely cease to oscillate, yielding unvoiced
whispering, but it is important to realize that these articulations, when
enunciated independently of the instrument do not correspond exactly with
the sound emanating from the recorder when the same articulation is applied
to it. The sonic distinction between some of these articulations when
enunciated or whispered in the recorder, may furthermore be very fine or
even non-existent, as in the case of nasal articulations dicussed below
(which are of course quite distinctive in speech), but such possibilities
are nevertheless included, as in a particular context for certain
performers one of the possibilities may be more comfortable to apply than
others.

23
A. GENERAL CLASSIFICATION OF ARTICULATIONS

In this study, micro-articulations are divided into three basic

categories consisting of consonants, vowels and coarticulations, the
articulatory possibilities here being more-or-less limited to languages
based upon the Roman alphabet. Within this framework, the following
definitions are also applied:

(1) Lax and Tense Articulations.

The relevant articulatory organs in a particular articulation may be
kept lax (relaxed) or tense. Lax articulations are therefore weaker (less
intense) than their tense counterparts, and the degree of laxity or tension
may also be carefully graded, so that the intensity of the attack, sustain
or release characteristics may be independently varied for all types of
articulation. Examples: 'k' (tense guttural), 'g' (lax guttural).

(2) Plosive Articulations.

Plosive articulations, defined in terms of the attack characteristic,
are those in which the air-stream is egressive and pulmonic, being
initially stopped completely. Examples: 'pI, It'.

(3) Nasal Articulations.

Nasal articulations are those in which the velum is lowered with the
oral cavity being stopped, so that air may move only through the nose and
resonance may occur in the nasal cavity. Example: Int.

(4) Lateral Articulations.

Lateral articulations are those in which the air-stream flows over the
sides of the tongue. Example: '1'.

(5) Retroflex Articulations.

Retroflex articulations are those involving the tip of the tongue and
the back part of the teeth-ridge, so that the tongue is partly curled up.
Example; 'rIo

(6) Semi vowels.

Semi vowels are sounds articulated in the same way as a vowel, but
without forming syllables of thei-r own. They are diphthongal, giving a
spectral glide as the characteristic vowel is transformed into the

24
following vowel. Semi vowels form a link between vowels and consonants in
the classification of articulations. Examples: 'y', 'WI.

Further definitions will be discussed in the relevant sections.

In this study, many articulations given in subsection headings are

generally named either according to their point of articulation within the
oral cavity or according to the specific sonic results they give.
Furthermore, some of the terminology utilized here is, within strict
phonetic usage, imprecise or incorrect, but is nevertheless included as
such because many of these terms are established in some degree or
understood in musical circles, so that the use of the correct phonetic
terminology may perhaps lead to misunderstanding amongst musicians. For
example, the widely-known dental articulation is phonetically labelled as
alveolar articulation, and fluttertonguing is referred to as a trill in
phonetic terminology. The important point here, naturally, is that
ultimately the given information, as provided by the composer, be readily
understood and converted into the required sound by the performer without
undue difficulty, irrespective of terminological considerations.

B. GENERAL REMARKS CONCERNING EACH OF THE ENVELOPE CHARACTERISTICS

(1) Attack.
(a) Vowel, Nasal, Lateral, Semivowel, Fricative, Sibilant (and Affricate)
attacks may be elided into a different sustain characteristic, as usual,
or may be prolonged indefinitely (within the limits defined by lung
capacity). Because of their inherent character, in practice laterals and
semi vowels when prolonged as such behave precisely like vowels in the
sustain characteristic (and are therefore redundant), and nasals are
utterly impractical when prolonged, as the air-flow occurs only in the
nasal cavity, so that sound is not initiated in the recorder at all.
Sustained fricative and sibilant sounds will be discussed in Section 3.1.
(b) Apart from Aspirant and Vowel articulations, the intensity of the
attack (and indeed the other envelope characteristics) is actually quite
independent of diaphragmatic tension or breath pressure. However,
articulation intensity, pitch and fingering are interdependent: high notes
require intense attacks with sufficient breath pressure; low notes require
gentle attacks, otherwise a "sputa to" effect will result; unstable notes
and Avant-Garde resources such as multiphonics, as determined by fingering

25
considerations, require careful articulation in the attack. Such
situations therefore plac e fundamental limitations upon the field of
available articulations, as utilized in the attack. Note also that the
articulation intensity of t he at tack in micro-articulations is in part
responsible for the macro-articulatory concept of accent, and hence
metrical structures as well.

(2) Sustain.
(a) Vowel, (Lateral, Semi vowel), Fricative, Sibilant and Fluttered
articulations may be utilized as the sustain characteristic of a micro-
articulation, as implied above. In traditional recorder playing however,
the particular vowel chosen is largely irrelevant, as the use of different
vowels have no effect whatsoever upon the sonic result. Performers will
nevertheless choose certa in vowels over others in various musical
situations, for purposes of performance comfort or relaxation, and in
anticipatory languages 4 such as English, the vowel utilized in the sustain
characteristic will affect the position of the articulatory organs in the
attack and release: compare the shape and position of the articulatory
organs for the 'd' sound between the articulations 'diddldi' and 'daddlda',
for example.
(b) The duration of the sustain characteristic of a micro-articulation, in
addition to defining rhythmic characteristics in conjunction with fingering
considerations, also defines the traditional macro-articulatory concepts of
legato, staccato etc., which in turn may be partially responsible for the
larger-scale possibilities of stress, metre and phrase. Recorder macro-
articulations may range from a perfectly smooth legato (maximum duration of
the sustain characteristic) to the shortest staccatissimo (minimum duration
of the sustain characteristic). Conventional notation suffices here in
order to distinguish between the various possibilities:
(i) Legato.
In legato playing, the first note of the legato is attacked, a
continuous air-flow is maintained for all of the notes of the legato (that
is, the sustain characteristic of the articulation lasts for the duration
of the notes), and the final note is released. Here, the work of rhythmic
definition is entirely carried out by the fingers. Note that within the
legato, aspirant attacks (or diaphragmatic thrusts) are possible for
individual notes, being notated accordingly, without interrupting the
breath-flow. 5 These latter possibilities may be useful in delineating
accentuation and metric structures.

26
(ii) Non-Iegato/Tenuto.
This resource, often referred to as "recorder legato", likewise
entails the use of a constant air-flow, but here the notes involved are
indi vidually attacked and sustained with the attack characteristic
functioning also as the release of the previous note. Thus, the notes are
only closely connected to one another and do not constitute a true legato.
What we have here is therefore an example of a micro-articulatory
consideration (the sustain characteristic) affecting the other micro-
articulatory phenomena (attack and release characteristics) via a
particular macro-articulation. This macro-articulatory possi bili ty is
utilized as requested, or when a true legato on natural/technical grounds
is impossible or stylistically undesirable. Here, only the attack (and
sustain) characteristic(s) of each note need be notated.
(iii) Mezzo-staccato/Portato.
In this case, each note involved possesses its own attack, sustain and
release characteristics, bein g slightly detached from one another by
intervening short silences (whose durations are determined by each sustain
characteristic).
(iv) Marcato.

I
As for (iii), but with
(v) Staccato. successively shorter
sustain characteristics.
(vi) Staccatissimo.
In staccatissimo playing, the duration of the sustain characteristic
is so short as to be practicall y non-existent, and may be notated with only
the attack and release characteristics being presented. A few examples of
some of these well-known and universally-employed possibilities follow.
(Further examples appear in Vetter (1974): pp.59-64).

Ex.l-l. Willy Giefer: Cadenza. No.1, p.4. (Alto recorder)

4 Allegro (.=ca.2401 poco poco rit. _ _ _ _ _ ________ _

,.
Q

~l . '"' Q --
lif_ ,.-.... ..... .---;---.
. .

,
" . Molto staccato [I.S. staccatissimoJ
...--...

. Normal staccato
Legato group of even speed moving in flowing eigths
(quavers) unless accel. or rit. is indicated."

27
Ex.1-2. Rob du Bois: Pastorale VII. No.8B, p.10. (Alto recorder)

--===::.=- ifA p(do/ce)

Legato, tenuto, staccato.

Ex.1-3. Konrad Lechner: Varianti. Labyrinthus. (Tenor recorder)

- light, springy attack (not so short as n )"

Lechner also requests this articulation in Dream and Daytime and Spuren im
Sand.

Michael Vetter (1974): p.64 refers to the Avant-Garde demand for the rapid
alternation of macro-articulatory resources, as outlined above, and also to
their use as "articulation-rows" in serial music. Macro-articulatory
transitions are also possible :

Ex . 1-4. Will Eisma: Affairs II. Phrases, No.120. (Alto recorder)

If '. I I
" = staccato (short tone). = portato."
(Eisma may mean "tenuto" instead of "porta to" here, as defined in this
study).

28
Ex.1-s. Rob du Bois: Pastorale VII. No.8B, p.10. (Alto recorder)

,
.
pp
pp

Here, there is a smooth transition from portato or non-legato to legato.

Ex.1-6. Louis Andriessen: Sweet. p.4. (Alto recorder)

-======== ff if pili presto poss. e staccatissimo,./urioso

In this example, the transition is from one extreme to the other: legato
to staccatissimo.

(3) Release.
(a) The termination or release of a note must be considered if that note
is to be detached from the following note (if any). The intensity of the
release approximately corresponds to the concepts of laxity and tension
previously discussed, as well as the type of articulation utilized (gentle
articulations normally yielding gentle releases, for example). In fact, an
appropriately gentle attack when combined with a strong release
characteristic may be regarded as a so-called "reverse envelope".
(b) All manners of articulation may be utilized as a release
characteristic with the exceptions of lateral plosions (Section 1.1.10) and
certain varieties of coarticulation, which due to their inherent nature may
only be used as attacks (and in some cases as sustain characteristics as
well). Note that lateral and semivowel releases behave here precisely like
vowel releases.
(c) All release characteristics are non-explosive in that the relevant
articulatory organs merely move to the initial position of the articulation
under consideration as if it were to be an attack (which is not made). A
partial exception to this rule concerns affricate releases in which the
concluding fricative or sibilant part of the articulation is made clear in
order to define this manner of release and distinguish it from other

29
release types defined by the first part of the affricate articulation only.
(d) When no release characteristic is provided in the notation after a
vowel sustain, a vowel release is assumed, in which case the breath-flow is
stopped by the glottis. In general, the sustain characteristic also
defines the release characteristic unless indications are given to the
contrary.
(e) Two micro-articulatory possibilities exist which are peculiar to
release phenomena:
(i) A note may be released by an inhalation - this is rather
striking in staccato - in which case a slight breath-noise is
audible. 6 Such a release in all other aspects functions as a
vowel release, but is notated basically by placing the symbol for
inhalation - V- in the appropriate position (discussed below).
(ii) A note may be terminated by physically removing the beak of the
recorder from the lips, which then shut tight instantly upon the
beak's withdrawal. This release should only be used before a
rest of reasonable duration, as a small amount of time is needed
in order to reinsert the beak of the recorder between the lips
(if necessary). Such a release is closely related to the lip
release defined by the consonants 'p' or 'b', which may be used
to indicate this type of release (the particular consonant being
chosen according to the vigour of the motion) together with a
verbal indication. This manner of release may furthermore have
theatrical overtones, and is particularly effective in this
regard at the end of a piece. 7

C. THE NOTATION OF ARTICULATIONS WITHIN THE ENVELOPE

The notation of micro-articulatory possibilities should be based upon

alphabetical resources, where possible, by forming articulation syllables
which are then placed above the stave in the appropriate position, with the
letters being spatially distributed as if one were setting words in vocal
music. These syllables should be bounded by apostrophe marks, in order to
delineate clearly their function as articulation indications: the
fricative articulation 'f~ for example, is not a dynamic indication! In
some cases, it may be necessary also to specify the language upon which the
syllables are based, in addition to supplying an example of a word from
that language containing the relevant articulation(s), in order to make
one's intentions perfectly clear. Occasionally articulations will be

30
required which are derived from non-alphabetical languages, or are even
non-lingual, in which case it will be necessary to utilize symbols from the
International Phonetic Alphabet 8 within this notational framework. (This
applies, for example, to the specification of tongue clicks, which are
common in certain non-alphabetical African languages). The traditional
notations for the macro-articulatory possibilities previously discussed -
tenuto, staccato, etc. - should then be placed above these syllables, most
appropriately above the sustain characteristic in the envelope.
This notational framework furthermore inherently contains indications
for the intensity of, each envelope characteristic, as determined by the use
of tense or lax articulations. Finer tolerance of articulation intensity
may be specified with the following symbologies;
(a) One or two dashes beneath a lax articulation will denote successively
increasing amounts of laxity; 'd', 'i', '.s!.'.
(b) One or two dashes above a tense articulation will denote a
successively increasing amount of tension: 'p, 'p', 'p'.
(The dashes in this latter notational system may perhaps be replaced with
the traditional notations for articulation intensity 7 1\ ,etc.:
'p', 'p',
?' 'p').
"

It is clear then that the above notational system for articulation

intensity to some extent alleviates the problems of using the corresponding
traditional abstract musical symbols, which carry out the same function in
a less efficient or precise manner. In general, this alphabetic notational
system is recommended in place of the adoption of abstract symbologies (as
in, for example, the system suggested by Donald Martino 9 and utilized by
Richard David Hames) as well as the continual use of the International
Phonetic Alphabet where normal alphabetical resources would suffice.
Within the recommended notational framework, each syllable gives the
performer precise information about what should be whispered or enunciated
in the instrument in order to achieve the required sonic result, and
translates into motor-terms with a minimum of cerebral interference.
Furthermore, the syllables are accurate within a particular language
community and always lead to repeatable results. Score presentation in
addition becomes simpler but more precise, with less chance of performance
error or impediment, by using speech sounds in more-or-Iess conventional
spellings rather than the slightly more precise but awkward to decode
International Phonetic Alphabet.

31
D. FURTHER ARTICULATORY POSSIBILITIES

(1) All articulations may act upon an inhaled air-stream (as well as
the usual exhaled breath-flow), with the exceptions of the fluttertongue,
flutterlip and buzzed-lip articulations, as may be demonstrated with the
articulatory mechanism alone, independent of the recorder. IO Applicatons
for this resource and further considerations are discussed in Chapter 3.

(2) Any articulation may be utilized wherever one can create air-
movement in the recorder. (This resource stems directly from the initial
definition for articulation). All articulations may therefore be applied
to the window, fingerholes, separate sections of the recorder, etc. in
addition to the beak.

(3) Bearing in mind the remarks made in B.(I)( b) above, the

articulatory mechanism is independent of fingering considerations, so that,
for example, technical possibilities such as flutter tonguing and
fingervibrato may be combined. The possibilities are indeed enormous: in
addition to the many specific combinations of technical resources available
here, several composers have already utilized this resource as an elemental
organizational principle in their partially-aleatoric recorder
compositions, where it is fundamentally impossible to predict precise
details concerning the resultant sound, due to the independent treatment of
these basic sound production mechanisms:

Ex.I-7. Rolf Riehm: Gebrauchliches . p.I. (Alto recorder)

t-La....a _ _

1~~

~!~[L~==~==============

In this example, "finger acti vi ty " for each hand , "breath pressure"

32
(diaphragmatic tension) and "mouth activity" (articulation) are treated
independently of one another. See also Luciano Berio: Gesti (Ex.3-l7), in
which technical instructions for the "mouth" (and vocal cords) and
"fingers" are presented separately.
(Examples of tongue tremolo combined with rapid, independent finger
movement and random alterations in breath pressure are also very common,
this resource being applied in Makoto Shinohara: Fragmente No. 10, for
example. See also Ex. 3-36(c), Bar 65, which illustrates the usual manner
of notation for this resource). The independence of vocal cord vibration
from the other elements of the articulatory mechanism is furthermore very
frequently demonstrated by composers, where, for example, a part for the
voice (sung or hummed pitches) may be presented on a separate stave in
addition to the recorder part, as in Hans-Martin Linde: Amarilli mia bella
p.ll, and Martin Gumbel: Notturno p.2.

(4) The envelope characteristics are capable of generating pseudo-

dynamic effects involving arches of tension, in which loudness is not
necessarily altered. This resource is supplemental to the recorder's
inherent dynamic capabilities: the appropriate attack intensity combined
with staccato has been found to be useful for initiating echo effects, for
example. Such possibilities may furthermore be enhanced or contradicted
through the application of vibrato, smooth or abrupt tempo or rhythmic
changes - see Ex.1-2, Ex.1-4 and Ex.l-s, for example - as well as melodic
contours/resources.

(5) Smooth and gradual micro-articulatory transitions may be

initiated upon each of the envelope characteristics. For example, with the
single (reiterated) consonant 't', the following transition (or its
retrograde) is possible:
't '------.'t' - - . ' t ' _ _ 'th I .
n

Here the point of articulation defined by the tip of the tongue moves
progressively forward from behind the teeth-ridge (retroflex articulation),
to the teeth-ridge itself (dental articulation - normal 't '), to the back
of the upper incisors, and finally to between the teeth (dental fricative).
(The markings beneath the first and third symbols above are phonetic
[diacritic] indications defining the respective deviations from the usual
point of articulation). Several other examples of this manner of micro-
articulatory transition are possible,** and indeed whole syllables may be

33
continuously transformed.**
In addition, the intensity of each envelope characteristic may be
gradually transformed: *

Ex . I-8 . Gerhard Braun: Recitatives and Arias . Recitativo IV, p. 8 .

(Tenor (or Soprano) recorder)

J
J J J I I III il

"Gradually change from normal playing to sputato"

The pitch here is reiterated (accelerando), with a continually increasing

attack intensity until a "sputato" articulation (overblown attack) results.
(This example furthermore illustrates the kind of tension-arch discussed in
(4) above, here displaying a movement from relaxation to tension generated
by the accelerando and articulatory transition) .
More complex articulation transitions, difficult to classify , may
invol ve transformations at both the mi c ro - articulatory and macro-
articulatory levels:

Ex . I-9 . Ryohei Hirose: Lamentation . p. 6 .

(2 Alto recorders and Tenor recorder)

r-------- ca = 7'~8" - -- ------,

staccato . double tonguing
poco a poco accelerando . .
repeat a nd repeat . . . repeat and repea t

IN~~'"I I
f
- ..
f tt tEpt tqt t
f

This example illustrates a transition between single (staccato)

34
articulation and rapid doubletonguing, which may be accomplished by
progressively inserting the secondary articulation of the doubletonguing.

Ex.l-IO. Willy Giefer: Cadenza. (Alto recorder)

(a) No .II, p.5.

.n
~
II
.1 .JS-.ye
~L~ ........:;
stacc !tzg.

! ======---,1 =-=====--/ ==-=--! ~i semprt

A gradual articulatory transition from tenuto, to staccato, to

fluttertonguing, motivated by an accelerando written in spatial
notation.

(b) No.III, p.8.

--,motto stace . ,poco 0 poco

~
, accel.
, ca. 7 11 _ _ _ _ _

boo . ...
, , , 'presto poss' lI!!'g
JA~""----------------
')

;if sempr.

Another articulatory transition effected by an accel erando, from

single staccatissimo articulations, to tongue tremolo, to fluttert onguing.
In both (a) and (b) here, the commencement of the flutter tonguing will be
unavoidably noticeable.

35
Ex . I-II . Juliusz Luciuk: Monologues and Dialogues . No . VII.
(2 Soprano recorders)

VII
2 Adagio J=ca 56

f:!~I::::. "'r
mp *
Iv . . . . .: I

a) staccato pojedyncze
b) staccato podw6j ne
I
dowolna , ilotit
rozdrobnlefl
a) single staccato
b ) double staccato
c) truli alO
I
di minution of the
crotchet ad lib.
a) einfac hes St accato
b) do ppeltes Staccato
c) Flatterzunge
I beliebige Unteneilung
des Viertels
c) frullato twiertnuty

"* a) single staccato b) double staccato c) frullato

diminution of t he crotchet ad li b . "
In the absence of any clarifying indications, it seems that the performer
may choose to apply any of the three articulations presented here. Yet the
application of articulatory transitions as discussed above may be a more
striking or subtle resource.

The rich articulation palette that has manifested itself from the very
beginning of the recorder's long tradition has been revitalized by the
recent researches of the Avant-Garde. Yet many of the possibilites have,
in recent times , been largel y misunderstood or neglected by performers and
composers alike, so that the number of available musical examples is
relatively small. It is hoped t hat the information presented in this study
will therefore be valuable i n eliminating such difficulties and proposing

36
new possibilities in this fruitful technical area.

Articulation categories considered in this study more-or-less focus

upon the elemental types of articulation, so that the number of available
musical examples is relatively small. It is hoped that the information
presented in this study will therefore be valuable in eliminating such
difficul ties and proposing new possi bili ties in this fruitful technical
area.

Articulation categories considered in this study more-or-Iess focus

upon the elemental types of a rticulation, so that the more advanced
possibilities, listed below, have therefore been omitted here, but shall be
examined at a later date. Many of these categories are nevertheless well-
known, but some are excluded because their complexity and scope is beyond
the range of the present work:
(a) Multiple Articulation and Tongue Tremolo.
(b) Fluttertonguing (dental and uvular).
(c) Flutterlip and Buzzed-lip**.
(d) Tongue Clicks, Slaptongues (inhaled** and exhaled*), Lip Smacks
(Kissing sounds) and Tonguerams.** A full study of these articulations
will require a detailed investigation of articulatory phonetics, as applied
to the many non-alphabetic African languages which utilize these
possibilities. The corresponding symbols - if any - from the International
Phonetic Alphabet shall then be utilized as musical notations in order to
distinguish between the various resources here.
(e) Sputato (derived from various Consonantal articulations).
(f) Diaphragmatic Thrust (derived from Aspirant articulation).
(g) Cheekslap. **

1.1 Consonantal Articulations

In order to generate consonantal articulations, the breath-flow

through the oral cavity must be obstructed in some manner. Consonantal
articulations are thus classified according to the place and manner of this
obstruction.

37
1.1.1 Dental Articulations

The normal forms of dental articulation are produced voicelessly with

the tip of the tongue touching the teeth-ridge:
't' [tense plosi ve] , 'd' [lax plosi ve] ; 'n' [nasal].
(Wi th the nasal articulation 'n', since air-flow initially occurs in the
nasal cavi ty, this articulation may perhaps be defined as being the most
lax or gentle of dental articulatory possibilites).
The intensity of the articulation here is largely determined by how hard
one presses the tip of the tongue against the teeth-ridge. A wide range of
possibilities is therefore available, from the softest, most gentle 'd' or
'n' to the hardest, explosive 't'.
Dental articulations may be utilized over the whole range of the
recorder: It' is commonly employed above the 1st register as an attack,
its application in the (lower) 1st register potentially yielding notes
which do not "speak" clearly or quickly (according to the attack
intensity), with initial transient noises being prominent; a retroflex It'

in which the tip of the tongue is placed behind the teeth-ridge may give a
particularly forceful attack or release, and is denoted by '~'; 11 a soft
'd' or 'n', in which the tip of the tongue is usually placed just behind
the upper incisors, may be a satisfactory resource for producing quasi-
legato or tenuto macro-articulations in lower registers. One should
observe furthermore that according to established practices and taking
stylistic factors into account, dental articulations are presumed to apply
when no indications are given to the contrary. Dental articulations also
frequently manifest themselves as relatively strong release
characteristics, as compared with other consonantal releases, the
abovementioned remarks concerning articulation intensity additionally
applying here.
Several examples of dental articulatory possibilities shall now be given:

38
Ex.I-12. Eduardo Armando Alemann: Spectra. p. 8 .
(2 Alto recorders, Tenor and Bass recorders)

T________. ,. 'T T T T T T T ~T

~ ~G ~tffi~~ffi:
'T...---....
T-----..., ~tl~ ~~ut

......
.T lll'1 h-----.. T...-- T..--... 1-- ~ 1-~ T~"

T
T t---.., T
+ T T T T T !.. 11; .~

Ii + T t T T T T T T TT

I~ Hard and sfz tongueing

TITT Hard single tongueing"
Such articulations, particularly when applied to the larger recorders in
their 1st register, may overblow, giving a "sputato" articulation.

Ex . I-13 . Hans-Martin Linde: Musica da Camera.

(a) No .IC, p.7. (Bass recorder)

Tempo ad libitum [tJ

[tl

pp ,f sfz

pp
4- 2@ 0
p ' 11-0
f "if

"(t) strong attack"

This articulation is likely to give prominent initial transient noises,
particularly the Bass Fi (overblown "sputato") . The larger recorders in
particular are liable to give this phenomenon.

(b) No.4E, p . 18 . (Alto recorder)

au
cJ~
ou ~! dl.i dli
#t It
.': ~'r , !

.f
"produce tone while simultaneously articulating the syllables
specified."

39
Ex.I-14. Nicolaus A. Huber: Epigenesis I. p.13.
(a) (Bass recorder?)

(b) (Alto recorder?)

Articulation syllables: 't', 'dud' (dental attack and release).

Ex.l-IS. Rolf Riehm: Gebrauchliches. p.l. (Alto recorder)

J.-S8

" - soft attack (d) harder attack (t)"

Ex.I-16. Werner Heider: Katalog. Spiel: Bar 3. (Alto recorder)

"ways of articulating the beginnings and endings of notes ([h or] t at

beginning and d at end)"
In this section of the piece, Heider also utilizes the same articulation
~ p ~
for staccato pitches F3 , B3 and G2

40
Ex.I-17 . Louis Andriessen: Sweet. p. 6 . (Alto recorder)
(a) (b)

"b = very hard tonguing"

(lst register notes will probably be "sputato")

Ex . I-18 . David Worrall: Silhouettes . p.3. (Alto and Tenor recorders)

~-- ...

;~ir~;:*~J]
"+- A very short staccato note: tongue "TE". For a rapid
succession of such notes tongue "TE- KE"."

Ex . I-19 . Hans-Martin Linde: Arnarili rnia bella . p.8. (Soprano recorder)

Presto

.J 4 J ., ~ .,
P sJ':Z

"f humming tone, articulated as Idyl:"

41
Ex.1-20. Richard David Hames: Ku. p.7. 1st system (Alto recorder)

" - Weak attack (as in 'da')

!\ Strong attack (as in exaggerated 'ta')"
The use of the tenuto marking, a macro-articulatory indication, for 'da'
here is unfortunate.
See also Ex .3-11(a),(c).

Ex.1-21. Klaus Hashagen: Gardinenpredigt. p.1. (Recorder headjoint)

....

j, i ...- I'

t t t t t ttt t t th-th-th--

The three syllables at the end of the example are fricative articulations
(Sectio~ 1.1.8). Here one could perhaps apply the micro-articulatory
transition given as an example in General Remarks D.(S). Examples of
dental (nasal) articulations in this piece arising from simultaneous
singing and playing shall appear later in this section.

1.1.2 Guttural Articulations

Guttural articulations are enunciated voicelessly with the back of the

tongue touching the velum:
'k', 'c', 'ck' [tense plosive], 'g' [lax plosive]; 'ng' [nasal] - as
in "ring".
(By analogy with the dental nasal articulation 'n', 'ng' may perhaps be
defined as being the most lax of guttural articulatory possibilities. Note
that the English language never commences words with this articulation) .
The intensity of the guttural articulation i s determined by the pressure

42
exerted at the point of contact between the relevant articulatory organs,
so that a wide range of intensities are available. Guttural articulations
may be applied over the whole range of the recorder, and most frequently
manifest themselves as a secondary articulation in multiple tonguing, where
guttural and dental articulations are alternated: gutturals have a
slightly less clear or incisive attack than their dental counterparts.
As a release characteristic, guttural articulations vary in intensity;
they are frequently employed as s oft terminations, with the back of the
tongue merely blocking the air-flow. Musical examples of guttural
articulations are very common in multiple tonguing, but rarely appear in
isolation, except in the context of simultaneous singing and playing:

Ex.I-22. Kikuko Masumoto: Pastorale. p.9. (Recorder in C)

P '\

~ ~~ b ~i ~~ ) ~~l
'If
I
fi~' ~~I

? f:J ') f? ;; f'/ J

Tonguing 1f?
Tu -k Tu k Tu k Tu - k

'k' utilized in the context of breath-coloured doubletonguing, as discussed

in Chapter 3, the correspondin g e xamples there bein g Ex.3-14 and Ex.3-15.
See also the remarks to Ex.I-18 above ('KE' as a secondary articulation in
doubletonguing).

Ex.I-23. Klaus Hashagen: Gardinenpredigt.

(a) p.l. (Recorder headjoint)

flotenkopf

..chr
~
. . .m ..

Guttural attack of flutter tonguing (which here may be of the uvular

variety). Any articulation may in fact be utilized for the attack and
release characteristics of either dental or uvular fluttertonguing.

43
 (b) p. 3 . (Alto recorder)

altflote

(blasen und singen= - di l2il(ng) ---

flatterzunge)

"(blasen und sing en = flatterzunge)" [I.S.: blowing and singing =

fluttertonguing . J
The word "gredin" sung into the recorder defines the various micro-
articulations: guttural attack ('g') of the (dental) fluttert onguing
('r(rr)'); vowel sustain following the fluttertonguing ('e'); dental attack
('di'); dental (or guttural) nasal release ('n'('ng', which of course
cannot be sustained despite the notation here (see General Remarks
B. (l)(a . Note that A~ is the pitch of the note to be sung into the
recorder with the given multiphonic . The sung pitches are apparently
either free or in unison with the recorder pitches for the other syllable ,
this not being made clear.

Ex.1-24 . Nicolaus A. Huber: Epigenesis I . p. 14 . (Alto recorder?)

Articulation:
,ga.. , .

Ex . 1- 25 . Rolf Riehm: Gebrauchliches . p. 7 . (Alto recorder)

f[ [ t ttr
I
II

k~ h kt

"stimmlos" [ 1. S . : voiceless] .
Articulation: 'k'. The inverted 'e' is a phonetic vowel symbol known
as the schwa .

44
1.1.3 Aspirant Articulation

The aspirant articulation is non-plosive in that the air-flow is not

stopped (with a subsequent build-up in air pressure). The breath is
instead pushed out voicelessly through the glottis and oral cavity by the
diaphragm, without resistance. Hence, the aspirant articulation is not
tongued:
'hI .
The aspirant articulation is therefore contrasted with the dental and
guttural plosives, but it is at the same time related to the vowel
articulations examined in Section 1.2.
The intensity of the aspirant or breath attack is variable, so that soft,
gentle or smooth attacks are possible in the 1st register, whereas in
higher registers considerable diaphragmatic tension is required
[diaphragmatic thrust]. Such a diaphragmatic thrust in the 1st register
will cause the note to overblow. Furthermore, rapid successions of
aspirant attacks are awkward and may be facilitated by switching to a
guttural impulse, which in any case sounds similar when rapidly reiterated.
Repeated aspirant impulses generate a variety of throat vibrato
("chevroter") or aspirant tremolo. An aspirant release is also possible,
yielding a "reverse envelope" effect, with a natural crescendo to the point
of termination. The aspirant articulation is not commonly requested by
composers:

Ex.1-26. Werner Heider: Katalog. Spiel: Bar 27. (Alto recorder)

(hd)
6r- ~
m(+)
~ ,
e
~1f'

"ways of articulating the beginnings and endings of notes (h [or t] at

beginning and d at end)"

45
Ex . I-27 . Konrad Lechner: Varianti. Thesis 2, p.S . (Tenor recorder)

ruhiger

- - - -
h"
f
P " h" h'
" "

Ex . I-28 . Wolfgang Witzenmann: Bordun II . p. S.

(Soprano, Alto, Tenor and Bass recorders)

(20)

,//J
~ 0 1':\
Sopr. n
(solo)
.J
H
pp
/l 1':\
Alt
(solo)
'8 H

1'1 1':\
Tenor
(solo)

8 H
pp
1':\
B.ss :
(solo)
H

"Entry with a soundless HI!

Ex . I-29 . Rolf Riehm: Gebrauchliches . p. S. (Alto recorder)

~L
a ~~,
t mrm1

I
;[ 1 '1~1 ' 111

" Z = diaphragmatic thrust/attack (without the closing of the

tongue)" [tr. Eric Gross .l.

46
 Ex.1-31. Richard David Hames. Ku. p.1. 1st system. (Alto recorder)
-, .
CI\\,""o FL\fTTU~ - Qoo soslt.So " GIn"Cl:.IO
r-------------------- r-----
r - -- 5'1,. . h poco. FO f"~ v,~~o_ . _ . _ . _ . _
ku h
I

- 211 d _:-h._ ==

"" rr

" h Minimal attack (as in 'ha')"

The dynamic indications and gentle attack characteristics are facilitated
and enhanced here by the movement of the recorder with respect to a
microphone.

1.1.4 Semivocal Articulations

Semivocal articulations, also referred to as liquid articulations, are

related to dental articulatory possibilities, but function in many ways
like vowel articulations (Section 1.2), as has been demonstrated in General
Remarks:
'1' [dental lateral]; 'r' [retroflex semivowel] - as in "rat".
Semivocal articulations, when whispered into the recorder, form very gentle
attack and release characteristics, as at no time is the breath completely
obstructed. These articulations are best restricted to the lower registers
of the recorder. The articulation of '1' as an attack furthermore requires
careful coordination of the tongue stroke and breath impulse, otherwise two
attacks will occur in close proximity of one a'nother (as in "allow" or
'~elld~. Such a resource may in fact be desirable, being notated with the
appropriate syllables. '1' is also useful for the rapid reiteration of
notes that are very slow speaking and/or unstable, as in the case of Alto
D~ (standard fingering).
Semi vocal articulations are usually employed in gentle mUltiple
tonguings, in particular the historical articulations advocated by
Ganassi: 12 'tiri', 'lere', etc. Within our own times, semivocal
articulations may furthermore be used as an Avant-Garde resource for the
derivation of tongue vibrati (section 2.3), as well as tongue clicks
(whereby the tongue slaps downwards, with the tip of the tongue landing
behind the lower incisors, giving a "chock" or "clock" sound). ** Semi vocal
articulations are rarely specified by composers:

47
Ex . 1-32 . Konrad Lechner: Varianti . Finis 1, p . 9 . (Tenor recorder)

1rr di - ri
=
The extreme gentleness of 'ri' is implied by the use of a slur (legato).

Ex.1-33 . Konrad Lechner: Dream and Daytime. No . 12 . (Soprano recorder)

12. Es sungen drei Engel

~~ LrIg IT
:. --------,W ~r
!I II
poco rit .

"slurs (unless associated with very fast notes) are to be produced

with extremely light tongue movements (quasi legato) e.g.

.'.
L.:l
di-ri
or .'Ld.
di-li
"

Ex . 1-34. Konrad Lechner: Spuren im Sand. No . 1, p .3. (Recorder in C)

(di-ri-ri-ri)

Ex . 1-3S. Nicolaus A. Huber: Epigenesis I. p. 3

.. - J .0
J'. t. r J. J J t.
E3 i3 i3 6;1"~I.

I' <:> ..::. ~ "... ...: > ...:") < >

l-.ii. lJ.. I...LI. L.. U l .. U
-< :> ..;:
l ... l~
:>
l ... IL

Articulation: "lall".

48
Ex.1-36. David Worrall: Silhouettes. p.9. (Alto recorders)

r- -.-.- - -- ---~

-1& t:: .2 i~
! -'- :

l . ___ . _ . ___ . _. _!

" - A short legato note: tongue "LOO"."

Ex.1-37. Klaus Hashagen: Gardinenpredigt. p.4. (Recorder headjoint)

flotenkopf
I
I
r(rrr)-ascal(Ul)
~ ----------
Ilx a. d. drehstuhl rotieren -I
(blasen und summen)

"(blasen und summen)" [1.S.: blowing and humming]

This example illustrates the lateral '1' being used as a sustain
characteristic (see General Remarks B.(l)(a).) The word "rascal" is spoken
initially without the recorder, which is then brought to the lips as '1' is
sustained.

1.1.5 Longitudinal Articulation

Long it ud inal art ic ula tion, def ined in ter ms of the at tack
characteristic, is generated voicelessly with the tip of the tongue
initially being placed between the lips and teeth, blocking the beak end of
the wind way . The tongue tip is then jerked back into the mouth to form a
vowel position, and thus acts like a valve, which stops the air-stream at
its narrowest point. The tongue is always in contact with or in close
proximi ty to the lips and teeth. (One may thus define the longitudinal
release characteristic as being the exact reversal of this procedure).
Longitudinal articulation may therefore be contrasted with the dental
articulations in which the tongue moves in a more-or-less vertical manner,
as here the tongue movement is basically horizontal (longitudinal). This
longitudinal action is furthermore largely responsible for the tongue's
stamina when the articulation is rapidly reiterated, as compared with
similar applications upon other articulation-types where the tongue tires
relatively quickly and mUltiple articulations must be resorted to.

49
Longitudinal articulation in addition allows a high degree of control over
tone production.
The following abstract symbol, borrowed from Rolf Riehm:
Gebrauchliches (Ex.1-38), is recommended; there seems to be neither
alphabetical letter nor symbol from the International Phonetic Alphabet
corresponding to this articulation:
(plosive]
(The symbol should be treated precisely like other letters in the notation
of articulation syllables: '"ak', ''''''an', '1",,', etc.).
The longitudinal articulation is a particularly intense or strong
articulatory form. The intensity of this articulation, which is rather
variable, is determined by how hard one presses the tip of the tongue into
the end of the windway in conjunction with the vigour of the tongue's
horizontal movement. Consequently, as one may expect, the longitudinal
articulation is applicable throughout the whole range of the recorder, and
nearly always yields "dirty" attacks in which the note speaks slowly, with
prominent initial transient noises (particularly in the 1st register).
When the attack is particularly forceful, a "sputato" effect will result in
all registers. One can easily deduce from the previous data that
longitudinal articulations also generate strong but flexible release
characteristics, quite closely related to the "tongueram". In fact, the
most intense articulation available on the recorder is the following
. . ) : **
( staccatlsslmo
, P"" [lip attack (Section 1.1.6) and longitudinal release,
both as intense as possible].
The action resembles that of vigorously spitting out an apple seed, with
prominent tongue-noise as the tongue strikes against the player's lips and
, ,
beak of the recorder in the (longitudinal) release, which may also be ~
in some cases. 11 The effect is truly stunning and is most striking of all
with extremely high diaphragmatic tension and breath pressure, which may be
achieved by puffing out the cheeks. All registers up to and including the
4th register overblow with this articulation, so that the effective range
where the pitch is well-defined is in the third octave approximately
between B~ and D~ only. The resource does not seem to be applicable above
D~, but may be utilized to great effect anywhere below this, giving a
strong overblown "sputato" as discussed.
Longitudinal articulation, as specified by composers, is an extreme rarity:

50
Ex . 1-38 . Rolf Riehm: Gebrauchliches . p. 6 . (Alto recorder)

~~
-""''''
,rffl. I~r fttf
____ ~ _____ JI______ ~~ ____ ~~ ____

"Wi th the tongue in the beak opening . A (very) short 'prior tone'
comes into being" [tr. Eric Gross . ].
Riehm is here referring to the attack transient noises and slowness of
speech discussed above.

Ex . 1-39 . Gerhard Braun: Minimal Music II. (Bass Recorder)

BaBflClte
bass recorder

quasi pizzo
v
,
" V ' ,9 V

t -t ++ +-+- + ...
Zungenschnalzen / tongue clicking

" V "spit" (quasi pizz . )"

The spitting noises, mixed here with tongue clicks , may well be
longitudinal articulations executed independently of the instrument .

Ex . 1-40. David Worrall: Silhouettes. p. 23. (Soprano , Alto, Tenor and

Bass recorders)

"stop mouthpiece with the tongue"

This instruction is equivalent t o a longitudinal release .

51
Ex.1-41. Richard David Hames; Ku. p.4. 3rd system. (Alto recorder)

T
" Attack note and immediately stop air with the tip of tongue."
Though Hames does not specifically mention the place of "stopping", the
musical context here and elsewhere in the piece where this directive occurs
would seem to demand a longitudinal relese.

1.1.6 Lip Articulations

Lip articulations are produced voicelessly with the lips alone as

articulators, instead of the tongue:
'p' [tense plosi ve], 'b' [lax plosi ve ]; 'm' [nasal];
'WI [labiovelar semivowel] ** - as in "wig".
(By analogy with dental and guttural nasal articulations , 'm' may perhaps
be defined as being the most lax of labial articulatory possibilities).
The intensities of the labial plosives here are largely defined by how hard
the lips are pressed together, and indeed the range of intensity is very
wide: these articulations may be utilized over the complete range of the
recorder. Soft (plosive) lip attacks are furthermore highly effective, and
such attacks, when forcefully applied, give the "sputato" effect with
prominent initial transient noises (particularly in the 1st register).
With these attacks, one may also puff out the cheeks, giving a very intense
articulation with a narrow range of variation due to the consistently high
breath pressures involved. Fully inflated cheeks always give a "sputato"
articulation, with the 1st register notes being strongly overblown. Clear
attacks are possible only from the 2nd register upwards with the cheeks
puffed and in staccato (or staccatissimo), if the cheeks remain puffed out,
a very intense release characteristic when executed with the tongue -
longitudinal or dental release: see the remarks in Section 1.1.5 - or
lips will ensue. This resource may be given verbally in a score, or one
may utilize the symbology of Ex.1 - 46.
As expected, the labial plosives give a wide range of intensities for
the release characteristic, but it should be noted that the labiovelar 'WI

52
(in which the back of the tongue touches the velum, in conjunction with lip
movement) is largely redundant as a note-terminator, in that it basically
functions as and sounds like a vowel in this respect. The consonant 'WI
is, in general, rather awkward to apply: as an attack, it functions again
like a vowel (Section 1.2) with an exaggera ted movement of the lower lip
which brushes against the underside of the beak giving a dynamic "bulge".
Its upper limit of application is approximately G~, and 2nd or 3rd register
pi tches may be slow-speaking as the attack may not be intense enough to
make the pitch speak cleanly: a pitch corresponding to a lower mode of
vibration of the recorder's air-column for that particular fingering
briefly appears as an initial transient noise.
Lip articulations appear in contemporary recorder music with only moderate
frequency: they deserve much wider study and recognition, and their latent
possibilities need to be explored in all contexts.

Ex.1-42. Hans-Martin Linde: Musica da Camera. No.3D, p.14.

(Alto recorder)

.
bi
. ,
ba

f t &j
bo
A

I mt

"produce tone while simultaneously articulating the syllables

specified"
Lip attack: fbI.

Ex.1-43. Hans-Martin Linde: Funf Studien. No.II. (Alto recorder)

(p) (~) (p)

t Lt tEtl
N

"(p)(p) = begin tone through closed lips as if making 'p'." [tr. Eric
Gross.].

53
Ex.1-44. Hans-Martin Linde: Amarilli mia bella. p.9. (Soprano recorder)

'i
, ., V
(f)

p
(P)

'I
(~ (P) (P)

If J. f3
"articulated with p (locking the lips)"

Ex.1-45. Nicolaus A. Hub er: Epigenesis I. p.12. (Alto recorder?)

"(p) spoken sharply, somewhat away from the beak" [tr. Eric Gross.].
This may yield a breath-coloured "sputa to". Further discussion concerning
breath-coloured micro-articulations is carried out in Chapter 3.

Ex.1-46. Rolf Riehm: Gebrauchliches. p.8. (Alto recorder)

"c, = the cheeks are puffed out, and when one articulates 'b' the air
flows into the instrument" [tr. Eric Gross.].
Observe here that Riehm demands the softer attack consonant 'b' (see above).

54
Ex . 1-47 . Richard David Hames: Kli . p.2. 5th system . (Alto recorder)

" U crisp attack (as in 'pa') "

Hames regularly utilizes this attack in Kli , in various registers .

Ex.1- 48. Klaus Hashagen: Gardinenpredigt. p.2.

(Bass recorder: Treble clef)

A2.3't~~ 11'tn Al~~

bi ~r)ba-cc i 0 -
(blasen und singen;
0'- = "sing "-Wne)

"(blasen und singen; "" = "sing"-tone)" [1.S . : blowing and singing;

'" = sung tone . ]
The word "birbaccione" sung into the recorder defines the various micro-
articulations: a lip attack ('b') of the (dental) fluttertonguing
('r(rr)'); lip attack with vowel sustain ('ba'); guttural attack with a
diphthongal vowel sustain ('ccio'); d ental (nasal) attack with vowel
sustain ('ne') . The sung pitches for Bass Fr and Fi are apparently either
free or in unison with the recorder pithces, the intention not being made
clear here. ("Birbaccione" is Italian for "scoundrel"!)

Ex . 1-49 . Meir Minde l: Genesis. p.6. (Alto rec order)

I" 3" .It'

tJ ,
19 $0
-f..
I

'"
55
 I. ~topplnl the lound abruptly by a.plrat 1nl
preface:
a P 11k. conaonant (llbl1ant).

The technical instructions are misleading in that they refer to aspirants

and sibilants when the intention is clearly a lip release with 'p'.

Ex.1-50. Werner Heider: Musik im Diskant. p.11. (Sopranino recorder)

{tel

Dental attack It' with lip release 'p', no sustain characteristic (vowel)
being given as the note is very short (staccatissimo).

1.1.7 Palatal Articulation*

The palatal articulation, defined in terms of the attack

characteristic, is generated voicelessly when the front of the tongue is
initially in close proximity to the hard palate and then moves to another
vowel position in the manner of a diphthong:
'y' [semivowel] - as in "you".
The palatal articulation is at all times extremely gentle and is closely
related to vowel articulations (Section 1.2), being usable only in the
lower registers of the recorder. Above the 1st register, attack transient
noises appear which are of the same kind as those discussed in connection
with the labiovelar articulation 'w', as again the attack is not intense
enough to make the note speak clearly at first. This articulation, being a
semivowel, is furthermore largely redundant as a release characteristic,
functioning precisely like a vowel or diphthong in this respect (General
Remarks B.(3)(b) and Section 1.2).
Palatal articulation has manifested itself mainly as a basis
articulation for (palatal) tongue vibrato (Section 2.3(b, and does not
seem to have appeared as yet as a micro-articulatory possibility specified
in its own right. It is hoped therefore that this unsatisfactory situation
will change.

56
1.1.8 Fricative Articulations

The important Avant-Garde articulatory category referred to as

fricative articulations are those which involve the creation of a narrow
passage within the oral cavity in which just enough space is left between
the relevant articulators in order to allow a continuous air-stream to be
only partially obstructed, thereby producing friction as the breath passes
through this passage. The (voiceless) sonic result is therefore
characterized by a "hiss". Fricati ve articulations are labelled according
to where this friction is generated:
'f' [tense labiodental], 'v' [lax labiodental];
'th' [tense dental] - as in "thin", 'dh' [lax dental] - as in "this".
Labiodental articulations are those in which the lower lip is pulled back
so that it approaches the upper incisors. In an attack characteristic, the
lower lip then moves forward to the specified vowel position - if indeed a
vowel is the sustain characteristic - generating friction, as if one were
whispering or enunciating 'f' or 'v'. Furthermore, the dental fricatives
here utilize use terminology "dental" in the true phonetic sense, as
opposed to the dental (alveolar) articulations of Section 1.1.1: "dental"
in this context refers to the tip of the tongue protruding between the
teeth in order to partly obstruct the air-flow, the tongue tip in an
attack being pulled back into the oral cavity in order to form a vowel
sound, if specified. Fricative articulations may be prolonged as desired,
being utilized then as a sustain characteristic. This particular resource
is examined in detail in Chapter 3.
The intensity of the fricative articulation is defined by the
narrowness of the passage referred to in the definition at the beginning of
this section, this having a subsequent effect upon breath pressure: an
increase in articulation intensity and breath pressure occurs when the
passage is made narrower (and vice-versa). Hence there exists here a
direct correspondence between the articulation intensity and the degree of
friction present in the sound produced. The amount of
friction/articulation intensity is widely variable and may be maximized by
drawing the lips back upon the edge of the beak in the particular envelope
characteristic under consideration, in order to allow some air to escape
the windway and flow outside the beak. Friction may furthermore be
augmented by increasing the breath pressure with further diaphragmatic
tension. (The recorder itself here seems to be unaffected in that pitch
fluctuations do not appear to occur with these breath pressure changes).

57
Conversely, the amount of friction may be made negligible here by utilizing
very lax articulations.
Fricati ve articulations may be employed over the whole range of the
recorder. Dental fricatives, when utilized as attack characteristics, give
prominent initial transient noises (apart from the inherent friction) in
all registers, and may in fact overblow low or unstable notes of the 1st
register. (The former remark also applies to labiodental fricatives
functioning in high registers). All fricative articulations furthermore
gi ve a dynamic "bulge" in the attack characteristic.
It is possible to generate very gentle fricative effects based upon
lax labiodental fricatives by clenching the teeth.** This gives a subtlely
different sonic result which should be presented in scores as a verbal
instruction in conjunction with the appropriate alphabetical details. The
range of technical possibilities here is the same as that for the usual
fricative articulations.
Fricative release characteristics are likewise highly variable in
intensity, though it should be mentioned that only a very slight amount of
friction will occur here unless the air- flow is actually forced into the
recorder with an appropriately exaggerated action, in some instances giving
a crescendo to the point of note termination.
Fricative articulations are exceedingly -rare in the Avant-Garde
recorder repertoire. I find this trul y surprising, as such articulations
are sonically very striking and possess a wealth of possibilities which
indeed provide the basis for many of the technical areas examined later in
this study. Composers and performers are therefore strongly encouraged to
investigate these resources.

Ex.I-51. Martin Gumbel: Recorder Tales. No .VI, p.2 .

(2 recorders of equal pitch: Soprano recorder notation)

> > > 6\1lI"'I\ (.. ,. > '> >

2.)
1 I ~~

.s.~W'li \..
> >

~~ ~~ ~~ ~p I~ ~ <~ ~p ~ ~~ jp j~ <I> 111> ~~

58
 2) Notes marked thus t are required to be rendered with a "Fht"
effect: apply forced breath to give the note a short blow. As soon
as the note is on speech. strike the palate of the mouth with the
preface:
tongue so as to interrupt the flow of air pressure (similar to a
strongly aspirated pronounciation of the letters "fht" spoken
in succession, the "ttl merely being onset - i.e. IInon-explosive").

A (labiodental) fricative attack with an extremely intense (?) dental

release/slaptongue , as the instructions imply. This is a very strong
articulation vaguely related to the 'p~' articulation discussed in Section
1.1.5.

Ex.I-52. Konrad Lechner: Spuren im Sand. No.ll, p.8. (Recorder in C)

-------
[0]**) P -====== [!E] f

"**) Distinct "h" "

The intention here, according to the given syllable 'th', is a dental
fricative attack, Lechner's remark referring to the friction thereby
produced. Furthermore, the style of note-head given here is precisely the
same as that utilized in the notation of breath sonorities, a closely
related technical area, given in No. 7 of the piece (Ex.3-5).

Ex.I-53. Richard David Hames: KG. p.3. 2nd system. (Alto recorder)

" * Delicate attack (as in 'the')"

Hames frequently utilizes this dental fricative throughout the piece, in
various registers: see Ex.3-1l(d),(f) for example.
See also Ex.I-21 for another example of a dental fricative attack.

59
Ex.1-54. Werner Heider: Musik im Diskant. p.6. (Sopranino recorder)

~ "
s.H*
I

" ~ = tone mixed with air"

An example of a labiodental fricative release, Heider's remark referring to
the resultant friction.

1.1.9 Sibilant Articulations

Sibilant articulations are actually a subclassification of fricative

articulatory possibilities, so that almost all of the remarks made in
Section 1.1.8 are also applicable here without the need to be modified in
any way. However, there are two basic properties which distinguish
sibilant resources from the other fricative possibilities:
(i) The friction noises generated by sibilants have their resonance peaks
at a higher frequency than the other fricatives, thereby giving the sound
more acoustic energy (loudness) and a higher-pitched "hiss".
(i1) In English, the narrow passage referred to in Section 1.1.8 is formed
further back in the oral cavity.
The relevant articulation consonants are as follows:
's' [tense dental], 'z' [lax dental]; 'sh' [tense palato-dental],
'zh' [lax palato-dental] - as in "vision".
(The term "dental" is here used in these sense of Section 1.1.1. Note also
that the palato-dental sibilants yield a somewhat lower-pitched "hiss" than
their dental counterparts and that the lax palato-dental sibilant 'zh' is
never used to commence words in English, but is common in French as an
initial consonant: "gendarme").
All of the other points raised in connection with fricative
articulations above may be applied in precisely the same manner here,
establishing an exact correspondence, apart from the following remarks
which refer only to sibilants:
(1) Sibilant effects generated by clenching the teeth. **
The tongue here is appropriately positioned and remains stationary for the
duration of the envelope characteristic under consideration, with the teeth

60
being clenched in order to narrow the air-stream and create turbulence or
eddies within it. Various timbral qualities of sibilance therefore arise
according to the precise position of the tongue, which usually approximates
the tongue positions for one of the normal sibilant articulations. Again,
the resultant breath sonority may be prolonged, as discussed in Chapter 3.
(2) On the application of sibilant attacks to the 2nd register and above.
Here, the note to which the attack is applied may not immediately speak
clearly. If breath pressure or diaphragmatic tension is insufficient so
that the attack is not intense enough, an initial transient noise will
occur which is derived from the lower modes of vibration of the recorder's
air-column as defined by the given fingering. Furthermore, the palato-
dental sibilants are more difficult to apply than their dental counterparts
from the 2nd register upwards.
(3) Whistling sonorities derived from sibilant articulations.**
By appropriate manipulation of the narrow air-passage created by the tongue
in the oral cavity, it is possible to generate soft whistling sounds from
si bilant articulations, in addi tion to the usual breath sonori ties. (In
fact, all whistled sonorities are derived from the larger class of
fricative articulations). The palato-dental sibilants seem to have the
most potential here, as retroflex palato-dental sibilants denoted by 's.h'
and 'zh,ll create whistles with somewhat greater projective capabilities

than the analogous resources derived from the dental sibilants. This
resource indeed has rather profound implications, as one now has the
capabili ty, therefore, to whistle simultaneously with the production of
(normal) blown sounds on the recorder without the need to remove the beak
from the lips, . as discussed in Chapter 3. (Such a capability was formerly
not possible, except perhaps i f one whistled through one's teeth, this
particular resource being a closely related possibility derived from the
teeth-clenching discussed above). In all cases here, breath-coloration is
unavoidable, though all of these resources may be utilized in the envelope
characteristic in precisely the same way as the more usual sibilant
technical possibilities, and are likewise sustainable.
Sibilant articulatory resources appear with even less regularity than
the other fricative possibilities previously examined, only one definite
example manifesting itself to date. The same exhortation given in regard
to fricative articulations likewise applies here!

61
Ex.1-55 Klaus Hashagen: Gardinenpredigt. p.3. (Recorder headjoint)

flotenkopf

zsch
(blasen und summen)

"(blasen und summen)" [1. S.: blowing and humming]

Here is an example of a voiced dental sibilant attack ('z') being elided
into a voiced palato-dental sibilant sustain characteristic ('zh'). This
may also be looked upon as being a sustained, voiced affricate
(coarticulation) (Section 1.3). (Sustained sibilant sounds are further
examined in Chapter 3.)

1.1.10 Reflex Articulation 13

Reflex articulations are all derived from dental articulatory

possibilities (Section 1.1.1), where instead a lateral plosion takes place:
the plosion occurs by lowering the sides of the tongue, with the tip of the
tongue remaining against the teeth-ridge. The resultant lateral
articulation then functions as the sustain characteristic, for otherwise
the result is a particular type of coarticulatory attack characteristic:
'ttl' [tense dental lateral plosive] - as in "little",
'ddl' [lax dental lateral plosi ve] - as in "meddle";
'nnl' [dental nasal, lateral plosive] - as in "tunnel".
(By analogy with certain previous articulatory possibilities, the last
articulation given above may be defined as being the most lax articulatory
resource in this consonantal category. Not that double letters are used in
each case here in order to avoid confusion with certain classes of
coarticulation which may utilize an articulation other than a lateral as
its sustain characteristic: a vowel or sibilant, for example. Furthermore,
it should be pointed out that if the dental articulations here are replaced
with any other articulation-type, the result is not a lateral plosion, but
merely a coarticulatory situation involving the elision of the replacement
articulation with a lateral sustain characteristic. 14 )
The technical possibilities of reflex articulations concerning
intensity and usable range on the recorder largely correspond with the wide
degree of flexibility of the dental articulations, except perhaps that

62
reflex articulations have a lower maximum amount of intensity. In other
aspects , however , reflex articulat i ons are more limited: they cannot be
used as a release characteristic (unlike the dental articulations) as their
inherent nature triggers an automatic reattack (see General Remarks
B. (3)(b)); and they are qu ite tiring and awkward to reiterate (having a
very slow maximum speed), yet the resul t s here are precisely the opposite
when reflex a rticulations are rapidly al ternated with other - preferably
dental - articulation - types. Since the time of Hotteterre, reflex
articulations have been valued for their ability to produce very fast and
easily-execu ted multiple tonguings and tongue tremoli ('didl' , etc . ); in
the Avant-Garde recorder repertoire, reflex articulations have indeed
appeared only in this context. One should therefore be prompted to advance
the development of reflex articulations as single articulatory resources ,
adding another colour to this already polychromatic technical area.

Ex.I-56. Nicolaus A. Huber: Epigenesis I. p . I4 . (3 recorders)

.-'\~

....
~l~

fl .$
_~ ,
",~J,.; r (r
"rtr
"'r --f
.... 'r" ~ , .. --, .
, f, .. l~ "
I
I
I
.... .-.
' __ ..J.t i.e.
dfr'
,
EEl.
..
... ;..1 .....
"L:. : "'r
ht ."
~ I(j ~ r
h.u. ...
"'roo<.
.~
,
-~ ~

r ~d :'JJ. h .I.l

1'<: f =--"?

Articulation syllables: 'didlda I , 'tidldi', 'didl', 'hidl' . (Reflex

articulations in the context of double and tripletonguing). Observe also
the often very short durations of f luttert onguing in this example ('rrr' ,
'r', etc . ) .

Ex . I-57 . Sylvano Bussotti/Michael Vetter: Rara. No . 52 , p . 3.

(Alto recorder)
4 ...u1...

F."
.",, I,;
.

Articulation: 'didldidl' (tongue tremolo)

63
Ex . 1-58 . Werner Heider: Katalog .
(a) Spiel: Bar 12. (Sopranino recorder)

(b) Spiel: Bar 65. (Alto recorder)

"didl = Double tongueing (as a tone-forming element)" [I.S. : that is,

a tongue tremolo].
Note that in both examples here the reflex articulation-generated tongue
tremolo is juxtaposed with fluttertonguing (rrr) .

Ex . 1-59 . Bob Margolis: Fanfare . p. l . (Soprano recorder)

Here , the reflex articulation-generated double tonguing is contrasted with

doubletonguing achieved by alternating dental and guttural articulations
('T-K-T-K'), as well as fluttertonguing.

Ex . 1-60 . Hans-Martin Linde: Amarilli mia bella. p. lO . (Bass recorder)

,. ..
RRR~-----,

mf J
daz// ;mmer schneller sprechen: did! dldl didl .

[I.S . ] "in addition always quickly enunciate didl didl didl "
Another tongue tremolo generated by reflex articulation, followed by
fluttertonguing .

64
Ex.1-6l . Neil Currie: Stopping by Woods on a Snowy Evening .
(Tenor recorder)
(a) Bar 50 . (b) Bar 57 .
Reflex double tonguing Reflex double and
contrasted with tripletonguing.
fluttertonguing .

sr. ) diJJ.rJ., il' rI.,! d.i dL Ji Jl'-,'

...

~.
~. . ... . .- ~ . .
'"; . ... . .
... I

(c) Bars 75-6.

Reflex
doubletonguing .

"Double- and Triple-tonguing: These are indicated by the articulation

syllables "didl" and "didldi", respectively."
These reflex articulations are indeed a prominent feature of this piece.

1. 2 Vowel Articulations

In order to initiate vowel articulations,15 which are alternatively

referred to as glottal, laryngeal or throat articulations , the breath-flow
must pass over the centre of the tongue and through the oral cavity in a
relatively unimpeded manner, without gen eratin g friction . Here, the
glottis, which is defined as being the space between the vocal cords , is
the sole articulator, opening in order to let the breath-flow pass through
the oral cavity in an attack, or closing in order to cut off the air - flow
thereby forming a release characteristic . (The articulation is
nevertheless voiceless in that the vocal cords are not permitted to
vibrate) . The tongue, though not initiating the sound, helps to define
vowel quality, even though in normal recorder performance, the particular
vowel chosen for any envelope characteristic is largely irrelevant (see
General Remarks B.(2)(a)) . Nevertheless , for certain Avant-Garde technical
possi bili ties such as breath sonorities (Chapter 3) or the simultaneous

65
execution of singing and playing upon the recorder, vowel resources may be
a crucial factor in delineating and distinguishing subtle timbral features:
vowel quality is determined by varying the position of the tongue on its
vertical or horizontal axis, in which the lips mayor may not be rounded;
the jaws may be close together or open, or the tongue may be retroflex or
flat. Furthermore, the tongue may move within or between envelope
characteristics in order to form diphthongs (the elision of vowels).
It is suggested in normal recorder performance that only alphabetical
vowels be utilized, as there are numerous vowel symbols from the
International Phonetic Alphabet which are redundant here, and the choice of
specific vowels is in any case largely a matter of personal taste:
'a', Ie', Ii', '0', lUI, etc.
(For techniques dependent upon vowel timbre, the full extent of vowel
possibiliites will naturally have to be examined, and phonetic symbols may
well be required).
Vowel articulations possess a fairly limited range of possibilities
concerning articulation intensity, which is determined primarily by the
pressure with which the vocal cords are pressed together. Vowel intensity
is generally considerably less than the intensity of plosive articulations,
but perhaps more so on the other hand than that of the palatal articulation
'y' or gentle aspirant articulations, for example. The vowel attack is
therefore best limited to the lower registers of the recorder, as stronger
articulations are necessary in order to initiate high notes. One
potentially fruitful resource here, however, lies in the contrasts and
juxtapositions in articulation quality that may be set up between vowel
articulations and other articulatory possibilities such as the dental,
guttural or aspirant articulations. Vowel articulation in addition is the
basis or generating articulation for the "chevroter" or throat vibrato.
As a release characteristic generated by glottal closure, the vowel
articulation is most effective when it differs from the sustain
characteristic (which may be another vowel).** In the use of adjacent but
contrasting vowels, a diphthong generated by tongue movement and a change
in oral cavity shape will therefore occur, yielding a most interesting and
rather strong release, as in the micro-articulation 'tui'. Vowel releases
are in general quite abrupt even if not very intense, and so may complement
the aspirant release.
Vowel articulations are very rarely specified by composers as attack
or release characteristics in their own right. However, they do
occasionally appear in this capacity in the context of singing into the

66
recorder .
Ex . I-62. Nicolaus A. Huber: Epigenesis I . p. ll . (2 recorders)
(a)

.......... "... ,",,'"

""'t< --j :::::- r t .. ...::

fl .... ~.
*':!:

....--
J

(b)

~)

T !g.)i

Articulations: IU U U

Ex.I-63 . Rolf Riehm: Gebrauchliches . p.S. (Alto recorder)

=
"staccato with the larynx, with the airstream flowing continuously
into the instrument" [tr. Eric Gross . ].

67
Ex . 1-64 . Richard David Hames: Ku. (Alto recorder)
(a) p.l. 4th system.

r-----1 ,
--- -iT ---
'

_ '_ ' _ ' _ "('):v. r-o.rf" ~ Y;~r.J.- ____ . __ . -. -

~ ~ ~J___ _pe___ ___~e .......

o-===:::
: I'f'r========~--(o,-----~

Vowel attack in the 1st register .

(b) p.2. 2nd system.

r----
S':'t
:
,,
i',
60 ,.. $

, .'
J (~
"fL=
L--7:4- ..J
o <:

Vowel attack in the 2nd register .

(c) p .2. 6th system .

,
,
I ~ --

II!>
.
-- - --- -- .. --.. . -.- --- ... _
-~,~--o
0,;...
" : 1.----
$

-=:: :::=-<
:: c :>

Vowel attack in the 3rd register. This latter example is rather difficult
to perform, and the given dynamic indication is impossible to achieve
without the aid of movement with respect to a microphone requested in (a)
and (b), which enhances the extreme gentleness of attack that Hames expects
here, as corroborated by the request in each case for crescendo from
silence. Recalling the remarks above concerning vowel attack intensity, it
would seem that the roles of aspirant and vowel attacks could be exchanged
in this piece to better effect! Furthermore, in the (Martino) articulation
symbology utilized in this piece, it is a pity that the notation for vowel
attack here corresponds precisely with the notation recommended for

68
longitudinal articulation (Section 1.1.5), as proposed by Rolf Riehm (Ex.l-
38):
"r'\ Non-existent attack (as in 'e')"
Ex.I-62 to Ex.I-64 are instances of vowel attack which manifest themselves
for their own inherent articulation colour, rather than being an adjunct to
another technical resource .

Ex.I-65. Hans-Martin Linde: Amarilli mia bella. p.7. (Alto recorder)

rif.
m m , m

f f f
"If j

"humming tone, articulated as 'm "'

Ex.I-66. Klaus Hashagen: Gardinenpredigt. p.l. (Tenor recorder)

tenorflote
, ============---
\T" ~&~.~~~
.(h)1 a- - m m - - - - - -

Hummed tone, again articulated as 'm '. (The direction to simultaneously

hum and play is not explicitly stated here, but is implied nevertheless
from the notation, which links t he previous (vocal) musical event to this
one. The pitch of the hummed tone is furthermore not given, but may well
be a unison with the played Tenor C1).

Ex.I-65 and Ex.I-66 illustrate vowel attacks arising from the technique of
simultaneously humming and playing upon the recorder. The attacks are not
labial nasals, as the notation implies , since such an articulation would
require the air-flow to be stopped at the lips, which is impossible when
the beak of the recorder is between them! The resultant vowels are
therefore initiated with an open oral cavity, as exemplified in the vowel
sound of the word "art". (This may be demonstrated by humming 'm'
independently of the instrument a nd opening the lips slightly, being
careful at all times to retain the same position of the articulatory organs
within the oral cavity.) Observe also in Ex.I-66 the open vowel sound

69
implied by the vowel 'a' immediately prior to, but linked with, the hummed
'mm', thereby corroborating this remark).

1.3. Coarticulations**

Coarticulations, within the realm of articulation possibilities on the

recorder, may be defined as being articulatory resources consisting of two
different consonants which have been overlapped or elided in order to
produce a single articulation. Where the two consonants here are
respectively a stopped articulation (in which the relevant articulators are
completely closed together) and a fricative or sibilant articulation, a
particularly interesting group of coarticulatory resources known as
affricates is formed. Mindful of certain restrictions (to be discussed
later), the limit to the articulatory possibilities here is therefore
defined by the number of ways in which any two available categories of
consonantal articulations (hereafter denoted in abstract by A and B
respectively) may be permuted or combined, with the resultant order being
taken into con si d er a t ion. Ther ef or e, in general, coarticulation
classifications may be written algebraically as A + B, the categories
themselves being non-commutative in that A + B generally forms a category
distinct from that defined by B + A. For certain affricative categories it
is even possible to have A =B thereby increasing articulatory capabilities
further as in Ex.I-55, where sibilant articulations were being examined.
(Here one may also include fricative articulations in general as a
practical possibility, but it must be realized that in such cases the
consonants themselves may not be duplicated, as otherwise an obvious
redundancy will occur). One may then even be able to overlap these derived
coarticulations with other consonants in order to form "triarticulations" **
(as in an elision of 'k', 's' and 'sh ' respectively generating 'kssh', for
example). The reiteration of this process is in fact a means of building
an innumerable number of "words" from the many permutable chains of
syllables and letters available, which mayor may not be lingual.
Nevertheless it must be pointed out here that where B Aspirant
articulations, the resultant coarticulatory categories actually are
trivial, in that the corresponding possibilities have already been included
in the study of normal consonantal articulations.
It is clear then from this preamble that coarticulatory resources are
indeed vast: one may deduce for example that there are at least 83

70
practical coarticulatory categories alone,16 without even beginning to
calculate the number of individual possibilities at the level of
articulation itself! 17 Such a circumstance therefore dictates that the
complexities here are far too awesome to allow an examination of individual
articulations at the level of detail previously carried out. Nevertheless,
some general results of a preliminary nature will be given. Let us now
list a selection of coarticulatory categories and some of their individual
articulation possibilities:

(1) Dental + Sibilant [Affricate]

,t s " 't z" ' c h'( , t s h ') - as in" chi 11 ", ' t z h " ' ds " ' dz " ' ds h ' ,
'j'('dzh') - as in "jaw", etc.

(2) Guttural + Lip

'q'('kw') - as in "quick", etc.

(3) Guttural + Fricative [Affricate]

'kf " 'kv', 'kth', 'kdh', etc.

(4) Guttural + Sibilant [Affricate]

'x'('ks') as in "xenon", 'ksh' - as in "reaction", etc. The first
articulation here is particularly striking as an attack.

(5) Lip + Fricative [Affricate]

'pf' - as in "pfennig", 'pv', 'bf', 'bv', etc. Here, the lips are
initially sealed altogether and only open gradually, with the air-
stream being forced through the widening gap between them into the
windway of the recorder.

(6) Sibilant + Sibilant [Affricate]

, ssh " ' shs " etc.

Categories (1), (3), (4), (5) and (6) here may be utilized as release
characteristics as well as attacks.

71
GENERAL RESULTS (PRELIMINARY ONLY)

(a) The intensity of a particular coarticulaton 'A + B' seems primarily

but perhaps not completely to be determined by 'B'. In fact, most of the
technical details and limitations of individual coarticulations are
apparently derived from 'B'. For example, any affricate may be prolonged,
as the sibilant or fricative terminating this micro-articulation is also
able to be prolonged. (This is a reasonable and logical deduction to make,
as 'B' is in fact the last consonant of the coarticulation to affect the
air-stream prior to the commencement of the following envelope
characteristic, i f any).

(b) Some coarticulations when utilized as an attack characteristic may in

fact give two attacks in close proximity of one another:
'sp' (sibilant + lip; this may be utilized as a normal release
characteristic); 'tl', 'dl' (dental + semivowel); 'pI' (lip + semivowel);
'pth' (lip + fricative-affricate); 'sf' (sibilant + fricative-affricate,
may be utilized as a normal release characteristic); 'gl' (guttural +
semivowel); 'kp' (guttural + lip); etc.
It is easy to verify if this phenomenon will occur by enunciating the
relevant coarticulations independently of the instrument, an analytic
process previously advocated. One may therefore observe that all of the
individual articulations in the numbered listing above give the usual
single attack. This method of articulation analysis may furthermore be
employed in order to determine whether a coarticulation mayor may not be
used as a release characteristic: coarticulations defined by any consonant
+ '1' briefly mentioned in the context of reflex articulations (Section
1.1.10), to which they are related, may not be used as release
characteristic, as a reattack will result with '1' being the sustain
characteristic; see also' q' in (2) above.

It seems that this immense region of articulatory possibilities has

thus far been totally neglected by performers and composers alike (and not
just in the field of recorder playing!). All musicians are therefore
strongly urged to investigate the possibilities here: a revolution in the
functions and applications of articulatory resources and their related
possibilities in music is imminent, and in this regard coarticulations may
indeed play a prominent role.

72
 ARTICULATION CHART

A listing of the main articulation-forms discussed in this chapter is now

given, as a useful guide for quick reference.
Dentals: It', 'd; In'.
Gutturals: 'k', 'g'; 'ng'.
Aspirant: 'hI.
Semi vocals: '1',' r'
Longitudinal: ,~,

Labials: 'p', 'b'; 'm'; 'w'.

Pala tal: ' y' .
Fricati ves : ' f ' , ' v'; 'th', 'dh'.
Sibilants: ' s ' , ' z'; 'sh', 'zh'.
Reflexes: 'ttl', 'ddl'; 'nnl'.
Vowels: 'a', Ie', Ii', '0', lUI, etc.
Coarticulations (at least 593 individual possibilities).

Notes

1. After Ladefoged (1975): p.3.

2. That is, a fixed block, windway and labium.

3. This has been repeatedly demonstrated (for example, by Ian Fredericks,

of the Sydney University [Department of Music] Experimental Sound
Studio) in an experiment involving the recording (on tape) of
instrumental sounds which may vary widely from one another in their
overall timbral characteristics, with the subsequent splicing off of
their attack and/or release characteristic(s). The sonic results
arising from these tape manipulations are frequently indistinguishable
or unrecognizable, even for musicians!

4. Ladefoged (1975): p.49.

5. See Ex.3-31 for example.

6. These are discussed in Chapter 3.

7. Rowland-Jones (1969): p.65.

8. A full, systematic study of relevant phonetic symbols shall be carried

out at a later date.

9. Martino (1966): pp.47-58.

73
10. This method of verification is very important (particularly for
composers), and is invaluable in investigating further the various
articulatory phenomena discussed here.

11. See General Remarks D.(5).

12. Ganassi (1535/1956): pp.12-14.

13. My terminology. I have chosen the term "reflex" as it most

appropriately describes this articulation's physical movement and
function in the multiple tonguing it so frequently appears in.

14. I have not yet been able to determine if this remark also applies to
sibilants and sibilant affricates, which seem to give close
approximations to lateral plosions when utilized as replacements to
the dental articulations here.

15. Several remarks have already been made concerning vowel articulations
in General Remarks.

16. I shall not give a mathematical justification for this here; from what
has already been said, one should be able to arrive at this result
without too much effort.

17. Utilizing a similar mathematical process asmentioned in fn.16, one may

deduce that there are at least 593 individual coarticulatory
possibilities here.

74
 2. VIBRATO

General Remarks

Vibrato, well-known from Renaissance and Baroque performance

practices, as a generalized Avant-Garde conception may be regarded as being
a sound modulation involving an oscillation between two sound-states.
(Non-vibrato, which is frequently requrested in modern recorder composition
- See Ex.O-I, Ex.2-3 and Ex.3-27, for example - is the lack of any such
oscillatory modulation). All vibrati therefore affect timbre and are in
fact derived from other techniques which are capable of being transformed
in a smooth, gradual and continuous manner, so that the set of all vibrato-
types may be split i nto three basic categories (which are not necessarily
mutually exclusive):
(1) Breath-generated vibrati I
(2) Fingering-generated vibrati and vibrati dependent upon fingering
considerations.
(3) Articulation-generated vibrati.
Recalling the observations of Chapter 1 General Remarks D.(3),
concerning the independence of each of the elements of the sound-production
mechanism (breathing, fin gering an d articulation), the above division
implies that vibrati fro m e ach of these categories may be combined or
superimposed upon one another. In fact, many vibrato-types may be
simultaneously combined, as, for e xample in certain circumstances each
hand or even individual fingers as well as the end of the foot joint or bell
may be treated completely independently. Such combinations may therefore
generate extra modulations in the form of sidebands, giving added vigour
and potency to the sonic result. Care must nevertheless be taken here, as
destructive interferences may occur instead, which tend to negate or make
pointless the overall effect : combined vibrati must enhance one another.
The combination of a smaller number of vibrato-types therefore generally
leads to more desirable musical results. (With isolated exceptions, this
potent musical resource has been largely neglected by composers in recorder
music).

75
Ex.2-l. Mauricio Kagel: Musik fur Renaisssance-Instrumente .
(a) p.7 . (Sopranino recorder)

"vibrato ordinario + Griffvibrato" [LS.: ordinary vibrato " +

fingervibrato]
(The fingervibrato on A~ here is actually an undertone vibrato, with the
undertone oscillating between A~ and F~. [Number tablature: thumbhole =
1]).

(b) p.lO . (2 Alto recorders)

'~hevroter [I.S. exaggerated throat vibrato ] + fingering change (level

pitch-height) [LS. timbral vibrato?] (Klangfarbenvibrato)" [tr .
Eric Gross].

The previous premise furthermore implies the possibility of combining

vibrati with other technical areas in an almost limitless number of ways:
observe in Ex . 2-l the combination of fluttertonguing (articulation) with
vibrati from the remaining two categories. This resource is naturally
enriched by the many varieties of vibrato available - see the Appendix -
which in themselves radically widen the expressive capabilities of the
recorder.

Within the above framework one may precisely delineate the details of
a vibrato by specifying the frequency (speed) and amplitude (width) of its
modulation according to a given curve, or contour , these parameters
generally being independent of one another . It is suggested therefore that
the following contour varieties be utilized in general, corresponding to
the categorization given above:

76
(1) ~ (breath - sinusoidal contour)

(2) ~ (fingering - triangular contour)

(3) ~ (articulation - loop contour)

~ (square contour) may also be presented when necessary,

for example, when four vibrati are superimposed, or several vibrato-types
are utilized in the one composition. Vibrato may therefore be rhythmic,
metrical or pulse-defining (with constant frequency or even with vibrato-
rhythms being specified by the composer! see Ex.2-2), or it may be
irregular and non-periodic, as defined by the vibrato contour. One may
thus set up or contrast temporal structures and relationships between
vibrato and the primary rhythms of the music (largely determined by
fingering and articulation considerations).

Ex . 2-2. Hans-Martin Linde: Fantasien und Scherzi . Fantasie III.

(Alto recorder)

Fantasie III
5ebr fre; (~=ca. 60 -72)
Flzg.*

--r- fa
Vibrato: i ill i ill
.) ., i
-= J .3 ===-

==-pp
Vibrato: i ill ill
:1
.j
i ~ -== p

"rhythmicized vibrato" [tr. Eric Gross] .

Transformations in the f requenc y and /or amplitude of a vibrato are

frequently carried out accord ing to the contour, and transitions between
vibrato-types within the basic categories are also possible.

Ex . 2-3 . Richard David Hames: KG . (Alto recorder)

(a) p. 2 . 2nd system.

-=== ff====

77
 (b) p.l. 6th system.

preface:

Vihrato: S.V. .6 enza v.i.bJutto

N.V. WJ. no.>una.f. v.i.bJta.to / 6Mt 0.6 c..iUation

but nalULow .i.nteJtva1.

N.V. """ no~a1. v.i.b4ato/.6low O.6c..iUation

but nMMW .i.nteJtva1.

M.V. '1M Molto v.i.bJutto/6Mt o.6c..iUat.i.on

but wide .i.nte~va1.

M.V. 'VV'
Molto v.i.bJutto/.6low O.6e.i.llat~on
but wide .i.nteJtva1.

Max.i.mum v.i.bJutto to the po.i.nt 06

futoU-ion

S.V.-.-.-.N.V.~ L.i.ne .i.nd.i.catu gMdua1. tMn.6@on

6~om one .6.i.gn to anothe4

N.V.- '" s.v. Welt-nation between the two .6.i.gYl.6

with the lattM pMg~U.6.i.vely
dom.i.nat.i.ng

N.V.""" .. we .i.nd.i.catu t4aYl.6@on 6Mm

.6low to 6Mt O.6c.i.llation

See also Syl vano Bussotti/ Michael Vetter: Rara, which repeatedly
illustrates these basic manners of vibrato transition (and juxtaposition).

Vibrato-types may also be alternated or juxtaposed ~ see Ex.2-3 in order to

construct special musical tensions, and, like articulation, pseudo-dynamic
effects and tension arches ma y be generated with vibrato: vibrato may be
used to highlight a particular note f rom its neighbours, for example. Such
possibilities again may be enhanced or negated by other technical
considerations.
The technical restrictions within which each type of vibrato must
operate are in general defined by the same limitations that are placed upon
the techniques from which these corresponding vibrati are derived. For
example, the higher registers of the recorder generally place restrictions
upon the variety of sonic results that may be generated by vibrati there,
this being particularly pertinent with respect to articulation-generated
vibrati

78
 Despite the previous general remarks concerning vibrato possibilities,
the scope of examination of vibrato phenomena in this study is deliberately
limited to the consideration of only four particularly striking and
potentially fruitful vibrato-types arising from the recent Avant-Garde
researches; in fact, the first two vibrati here are being codified in this
study for the first time! The other vibrato-types have been almost
uni versally neglected, an d so the aim here is to promote the wider
application and appreciation of all of these resources.

2.1 Reedy Vibrato

When one blows the recorder with a given fingering, a steady and
continuous increase in breath pressure ordinarily results in a rise in
pitch [breath pressure glissando] and dynamic level together with a smooth
timbral (spectral) change, the note eventually overblowing when a
particular breath pressure level is achieved. However, there exist certain
1st register fingerings (tabulated in Chart 1 with respect to the alto
recorder) which, when this procedure is applied, behave similarly except
that their pitch remains constant despite the increase in breath pressure.
The gradual increase in breath pressure from a particular initial level
brings about in such cases a progressively increasing amount of prominence
(larger amplitude) in the hi gher harmonics of the sound spectrum, therefore
making the timbre "reedy". Such a timbral change, due to psychoacoustical
phenomena, make the pitch appear to rise, but careful listening reveals
that it does not. (This illusion may furthermore be partially negated by
the fact that notes with gradually increasing loudness levels seem to fall
in pitch.)2 The following remarks should also be noted:
(1) For some pitches and fin gerin gs, the effect is more pronounced than
others. In instances where the pitches of individual "harmonics" may be
discerned, it is sometimes found that these pitches are not necessarily
true harmonics, but are in f a ct higher modes of vibration of the recorder's
air-column for the given fingering. Such cases therefore fall into a sonic
area between timbre and multiphonic!
(2) Breath pressure must be perfectly controlled, as the tolerances within
which the breath pressure must remain may be very small. Hence, one must
get to know the upper limits of breath pressure for each of the fingerings
here, otherwise overblowing may well result and the beauty of the effect
will be spoiled.

79
(3) In some instances,a smooth timbra l transition may be very difficult or
even impossible to achieve, so that the spectral change is discontinuous.
Deliberately discontinuous timbral changes here are possible in all cases,
however. Some fingerings with unavoidably discontinuous timbral shifts may
furthermore give a "burble" or shudder at the point of timbral change.
(4) One may commence a spectr a l transition at any point between the
timbral limits defined by breath pressure considerati ons for any fingering
gi ven in Chart 1.
This manner of timbral manipulation occurs extremely rarely in recorder
composition, and may provisionally be notated as in Ex.2-S.

Ex.2-4. Klaus Hashagen: Gestures. p.I4. (Alto r ecorder)

The rectan gular symbol is not explained in the score, but Schmidt (1981):
p.48 gives the followin g elucid a tion: " give a n increase in the upper
frequencies n.s. overtones]" [tr. Er i c Gross.]. Furthermore, the given
fingering tablature [thumbhole = 1] gives E~ instead of Ei - see Chart 1.

Ex.2-S. Michael Ahearn: Amicizia. No.1, p.I. (Alto recorder)

"n .r m: Thi s i ndicates a graded [1.S. gradual] change of

timbral quality from 'normal' to 'reedy' and back to 'normal',
executed with only sli ght breath-pressure variation, (not enough to
overblow the note). This should not result in any pitch change."

Therefore, through oscillations in breath pressure controlled solely

by the throat or in conjunction with the diaphragm, this techn i que gi ves
rise to a breath-generated ti mbr a l vibrato dependent upon fingering
considerations, herein referred to as "reedy vibrato", which thereby for ms
a link between two of the vihrato ca tegories given in General Remarks.

80
This technique may be notated with the contour for breath-generated vibrati
and the abbreviation "reedy vibr."

Chart 1.
(a) Fingerings capable of generating Reedy sonorities .

I~ ro It o ~o I ~c:> I o Ivo
ee e. e.

-

e


4)
0

.0 .0 . ."
[,fdo] 00
.0 eo
00
(~oJ
00
00
00

00

~
I

'L 3 2-

60
I~ Vo 11 ao < )
1 I9 0
II
,
e. e. e. e.

e.

e. e. c

0

c 0

C

0
~
0
Jlf
0
0
0

0

00 00 00 CJ
.(.J

eee]
00 00 00 00
~ 'L
~

(b) Remarks.
Eg discontinu ous transition with burble. Very striking effect due to
wide differences in timbre and dynamic.
F~ limited range of effect . Right hand little finger may perhaps be
1
vented slightly.
G~ 1 and 2 limited range of effect .
1
3 discontinuous transition with prominent and continuous burble.

discontinuous transition with burble. Right hand ring finger may

perhaps be vented slightly.

81
 very good range of effect.

1 very good range of effect.

2 and 3 excellent range of effect, discontinuous transition with
burble. F~ is prominent as a "harmonic".

Bl good range of effect. Pitch may rise on some instruments.

B~ discontinuous transition, very good range of effect.
1
c~ 1 very good range of effect. c1 (standard fingering) will also
give a '~eedy" sonority, but with some rise in pitch.
2 good range of effect. 3rd harmonic is audible. Pitch may rise
on some instruments.

E~ discontinuous transition with burble, except when right hand little

finger double hole is open. Very good range of effect. (5th
harmonic may become audible before burble and is particularly
noticeable when right hand little finger double hole is open.)
E~ good range of effect. Pitch may rise on some instruments.
1

2.2 Squeeze Vibrato**

A technical possibility on the recorder first suggested by the Sydney

composer Robert Douglas 3 as an analogy to clarinet "barrel squeezes",
invol ves squeezing the bell of the recorder between one's thighs, thereby
creating an acoustic chamber at the end of the foot joint. In order to
execute this technique, the performer must therefore be seated. The sonic
result is quite similar (but subtlely different) to that of the "reedy"
sonorities discussed above, and similarly, the pitch of the fingerings
involved does not usually change when this technique is applied in the 1st
register; the pitches of higher register fingerings on the other hand may
well be flattened or even break to a different register. In all cases here
, the timbral change is in direct correspondence with the amount that the
bell is squeezed.
In the 1st register,the most effective range of application is from F~
to C~, with diminishing response as one ascends: F~ and F! in particular
give excellent results. Unless the effect is desired, care must be taken
in order to prevent F~ from flattening when the technique is applied: F~
may be flattened down to fE~ when the bell in the appropriate position is
fully squeezed. Furthermore, '~eedi' sonorities are still possible for the

82
relevant notes and fingerings in this register with the bell squeezed in
any degree, so that these two technical resources may be superimposed to
great effect. Bell squeezes are perhaps best indicated verbally in a
score.
This resource therefore gives rise to the possi bili ty of generating
repeated timbral oscillations by successively squeezing and releasing the
bell, yielding a "wa-wa" effect which is the squeeze vibrato. This timbral
vibrato should be notated with the contour suggested for fingering-
generated vibrati and the abbreviation "squeeze vibr.".

2.3 Tongue Vibrato

Tongue vibrato is articulation-generated, being derived from those

consonantal articulations which permit a continuous breath-flow at all
times. In every situation, this manner of vibrato is executed by
oscillating the tongue between a vowel position and the position it takes
for of the relevant articulation (which itself may be another vowel or
semivowel), with a subsequent gentle reiteration of this articulation. The
amount and speed of tongue movement determines the amplitude and frequency
of the vibrato respectively, these parameters being rather easy to control.
Tongue vibrati do not giv e any pitch fluctuations, and their uses are
limited exactly according to the limitations of the particular
articulations from which they are derived: palatal and semi vocal tongue
vibrati, for example, have limited amplitudes, as their corresponding
articulations are always very gentle. The following possibilities, all of
which sound slightly different from one another and may be readily
alternated and juxtaposed, are therefore available:
(a) Semivocal tongue vibrato , based upon the articulations '1' or 'rIo
The tongue vibrato derived fro m reiterations of '1' is the variety most
often referred to in recorder literature. Its frequency is widely variable
and very easily controlled, the amplitude slightly less so in both
respects. Reiterations of ' r ' on the other hand give only a very gentle
tongue vibrato quite similar in sound to ordinary breath-generated vibrati,
since 'r' is a semivowel. The sound may therefore be made more distinctive
by gently utilizing the tongue clicks derived from this articulation (see
Section 1.1.4); this possibility may also be employed with '1' - generated
tongue vibrato.
(b) Palatal tongue vibrato, * based upon the articulation 'y'.

83
This tongue vibrato is always extremely gentle and is sonically similar to
ordinary breath-generated vibrati, 'y' being a semivowel like 'rIo The
frequency and amplitude of the modulation are however more easily
controlled it would seem than the breath-generated vibrati.
(c) Sibilant tongu~ vibrato, ** based upon the articulations 's' or Ish'
or their lax variants and related possibilities.
These tongue vibrati are very distinctive and flexible, with the potential
for a very wide amplitude, as the corresponding articulations may be rather
intense . The amplitude of the vibrato indicates the maximum amount of
si bilance in the sound , which may be continuously and smoothly modified
since the sibilant articulations may be gradually and smoothly transformed
into vowel sounds (and vice versa). A fricative tongue vibrato based upon
the articulation 'th' is possible in theory only, as the air-flow is not
continuous, with complete rearticulation occurring as the tongue is pulled
back from between the teeth into a vowel position . This resource may
nevertheless be utilized as a type of tongue tremolo effect. Further
possibilities involving sibilant and fricative articulation s and vibrati
are discussed in Chapter 3.
Tongue vibrati should be notated by utilizing the contour suggested
for articulation-generated vibrati, the articulation upon which the tongue
vibrato is based being placed above the contour, with the chosen vowel
, h'
beneath the contour: s~ etc.
, at
Tongue vibrato i s only explicitly requested by composers on rare
occasions, with the basis a rticulation '1' always being the intention.
Composers and performers are therefore exhorted to investigate the other
possibilites, in particular the sibilant tongue vibrati, which may prove to
be the most fruitful and interesting of all!

Ex.2-6. Klaus Hashagen: Gestures.

(a) p.ll. (Alto recorder) (b) p.14. (Alto recorder)

L. ~ uvau

=11

84
 (c) p.15 (Tenor recorder)

The contours here denote tongue vibrato, though this is not specifically
indicated. Such a conclusion has been reached, however, because Michael
Vetter, who edited this piece, uses the same notation for tongue vibrato in
Rara (Ex.2-7). (Note that the end of (c) above combines tongue vibrato
with a tone sung into the recorder) .

Ex.2-7. Sylvano Bussotti/Michael Vetter: Rara. No.52, p. 3.

(Alto recorder)

" ~ Zungenvibrato" n.s.: Tongue vibrato]

Ex.2-8. Ren~ Clemencic: Chronos-Studien. (Alto recorder)

'D

fz~
ZV "Zungen Vibrato" ('l' - generated tongue vibrato) .

2. 4 Jaw Vibrato

The jaw vibrato, occasio na lly referred to as "smorzato", involves

either the physical oscillatory movement of the beak of the recorder
between the lips and/or the reiterated movement of the lower jaw and lips,
as in a repeated and exaggerated pronunciation of the sound 'waf. In most
cases, the sonic result is very similar to the well-known breath-generated
vibrati , the relevant jaw vibrati perhaps being easier to control.
Furthermore, at no time with any jaw vibrato is the breath-flow interrupted

85
or rendered discontinuous, but the more pronounced physical movements may
instead have visual or theatrical overtones. In all cases however , the
ampli tude and frequency of the modulation correspond with the amount of
physical displacement and the speed of oscillatory motion, respectively.
The following technical possibilities therefore manifest themselves:
(a) The performer's hands in normal playing position may move the
recorder along the axis parallel to the instrument's bore, towards and away
from the teeth in oscillatory motion. (One must be careful not to knock
the beak of the recorder against the teeth).
(b) With relaxed lips, one may move the beak of the recorder
perpendicularly to the axis of the instrument's bore, up and down towards
the upper and lower lips respectively. The movement is again carried out
with the hands, which maintain their normal playing position. This
possibility may be achieved alternatively by maintaining the usual relaxed
state of the hands and fingers and carrying out the motion with jaw and lip
movement alone, as described above, but with perhaps more limited
possibilites concerning the amplitude of the vibrato and a potential
hindrance to articulatory resources.
With both of these possibilities, the amplitude of the vibrati, as
determined by the amount of physical movement, may be varied considerably.
Furthermore, the sonic distinction between these two categories is
negligible, with the former category being most comfortable to apply,
providing a minimum amount of disruption to the equilibrium of the fingers.
(c) The beak of the recorder can be moved perpendicularly to both of the
previous motions by oscillating it from left to right. One should not
attempt to execute this motion with the hands, as normal finger movement is
undermined too much. The oscillation is therefore best facilitated by
shaking one's head, providing at once a direct correspondence with an old
form of jazz trombone vibrato and the main vibrato technique of the
Japanese shakuhachi. Though the resultant sound is only very slightly
different to the sonic results of the previous categories, this manner of
jaw vibrato production is more difficult to control and has lower amplitude
levels which are partially dependent upon the frequency of the vibrato. It
is however very striking visually!
These technical possibilities may of course be simultaneously combined in
various ways, with all being most effective in the 1st register of the
recorder. For fingerings in all registers utilizing one hand only, the
free hand may be employed to wobble the recorder for better effect. The
above types of jaw vibrato should be notated by utilizing the recommended

86
contour for breath-generated vibrati, due to the similarity in sound
mentioned above and a correspondence between the sinusoidal shape of the
curve and the actual physical movements involved: see the pictogram in
Ex.2-9. Verbal instructions should make clear the particular category
intended .
Only one indisputable example of jaw vibrato has thus far been found,4
indicating the rarity and almost complete neglect of this technical
phenomenon.

Ex.2-9. Rolf Riehm: Gebrauchliches. p.3. (Alto recorder)

t~
r

------------------------------------

"The instrument rests on the edge of the lower lip and is moved up and
down" [tr. Eric Gross.].
The pictogram in the example here indicates that the jaw vibrato is of the
type discussed in (a) above. Note the independence of the technique with
respect to rhythm and articulation (dental articulations being used
throughout: see Ex. 1-15).

Two further technical possibilities within the area of jaw vibrato,

quite different from those previously discussed, have manifested themselves
and are here examined for the first time. They are articulation-generated
and so are related to tongue vibrati, being similarly restricted according
to the limitations of th eir basis articulations:
(d) Sibilant jaw vibrato ** arisi ng from the articulations's' and 'sh'
or their lax variants and related possibilities in which the tongue is
appropriately posit i oned a nd remains stationary whilst the teeth are
alternately clenched and unclenched. The sibilance mayor may not be
sustained according to the tongue position - see Chapter 3 - and the
amplitude of the modulation (maximum amount of sibilance) is determined by
the proximity of the upper and l ower incisors as well as the exact tongue
position. Those possibilities based upon 'sh' in general generate less

87
sibilance, but the amount of sibilance and so the amplitude of modulation
in both cases is able to be increased by placing the lips upon the very
edge of the beak, whereby th e sibilance becomes continuous as some air
always escapes the windway and flows outside the beak. Percussive effects
are furthermore possible by allowing the teeth to clatter together, this
resource perhaps being most appropriately specified with words.
(e) Fricative lip/jaw vibra to arising from the reiteration of the
articulation 'f' or its lax variant 'v', or more precisely, the continuous
oscillation between these fricative articulations and a vowel sound, the
fricative therefore being intermittent. A considerable amount of friction
may be generated here when air is allowed to escape the wind way , and the
friction may gradually be removed altogether giving the jaw vibrato
discussed in (b) above, this manipulation being a vibrato transition, a
technical possibility also (partially) applicable to the sibilant jaw
vibrato previously examined. These jaw vibrato categories should be
notated by utilizing the square-wave contour given in General Remarks, in
order to distinguish them from the other, related possibilities in the
fields of jaw or tongue vibrato.
Both of these resources give magnificent sonic results and so deserve to be
further investigated and utilized.

Notes

1. In a sense, breath-generat ed vibrati may be regarded as being derived

from Aspirant or Vowel articulations, thereby giving only two basic
categories.

2. The constancy of pitch here with breath pressure increases has been
verified on a Korg Chromatic Digi tal Tuner, model DT-l, provided by
Greg Pfeiffer.

3. In conversation.

4. The examples provided by Schmidt (1981): p.23 from Kikuko Masumoto:

Pastorale are NOT ex amples of lip vibrato at all. The error has
arisen due to the universally poor English translations from Japanese
recorder works, which confuse the labium of the recorder (sometimes
termed "lip" - labium is Latin for lip) with the player's lips.
Schmidt's examples therefore are illustrations of window vibrati.

88
 3. BREAm SONORITIES

General Remarks

Breath sonorities on the recorder may be defined as sonic resources

which are either solely characterized by or incorporate the sounds and
noises arising from the friction of breath-flow. The myriad of
possi bili ties availa ble wi thin this region of recorder technique may be
classified according to:
(i) The location on the recorder where the air-flow is initiated by the
performer.
(Notations will be discussed in due course).
(ii) The type or direction of air-flow being generated wi thin the
instrument, according to whether the performer is inhaling or exhaling.
Directions to inhale or exhale are notated as V or n respectively,
these symbols being placed above the stave. (They are justified on the
grounds that there is a direct correspondence here with the bowing of
string instruments, and they are also occasionally used in connection with
other wind instruments. Furthermore, in traditional notation V is a
directive to take a breath). Here, the given symbol is assumed to apply
until cancelled by the opposite directive.
A rapid alternation of inhaling and exhaling* is also possible, yielding in
general an effect like that of a dog panting! The following notations are
suggested:
1\: n v: \1t-----., or II: Vn :\1-,- - - - - ,
placed above the stave, the extender showing the duration of the effect.
(This notation assumes an alternation which is very rapid, so that if
varying speeds of alternation are wanted, the extender should be replaced
with a contour as employed for trills or fingervibrati). Note that this
effect can be prolonged almost indefinitely and that in fact inhaled
sonorities, apart from giving their particular timbre, fulfil a useful
function in that they can be employed as a means of allowing a continuous
musical line to flow without the need for the player to pause for breath,
or resort to "circular breathing". Nevertheless, in relation to inhaled
sonorities, the player may need to pause in order to exhale the build-up of
unwanted air in the lungs!
In general, breath sonorities are largely independent of articulation,
so that any articulation may be combined with most breath sonorities, the

89
principal exceptions being the physical impossibility of an inhaled
fluttertongue, inhaled flutterlip or inhaled buzzed-lip. The previous
remark is proven by attempting the various articulations - inhaled and
exhaled - independently of the instrument, as part of speech, this method
of demonstrating playability being particularly useful for composers.
(Such limitations are inherent in the articulatory mechanism, not the
recorder). Most breath sonorities are furthermore greatly enhanced by
amplification, some even taking on an almost percussive quality ; indeed,
some possi bili ties yield results which are so soft or subtle that
amplification is obligatory if they are to be projected at all.
The timbre of all breath sonorities is particularly pliable, and is
influenced by the following possibilities which are largely independent of
one another:
(i) The particular fingering being employed on the recorder, as well as
manipulations of the end of the foot joint and window, where applicable.
This parameter affects the resonance characteristics of the recorder,
thereby al tering the resonance peaks of the air-noise or the pi tch of the
sonority accompanying the air-noise (according to the particular technique
under consideration).
(ii) The precise lip or mouth position with respect to the particular
location on the recorder.
(Notations will be discussed in due course).
(iii) The angle of the air-stream being directed towards or away from the
particular location on the recorder.
This directive should be notated accordingly with arrows placed in the
appropriate position above the stave, the available angles of the arrow
varying according to the particular technique under consideration.
~
i
'-.

"'-
-
~
etc. in conjunction with exhaling, and
etc. in conjunction with inhaling.
(iv) The velocity or force of the air-stream, as indicated by the given
dynamic.
Increasing the velocity or force of the air-stream has the effect of
increasing the overall sound energy level, making the breath sonority
louder. In par tic ular, the higher frequencies of the air-noise are made
louder, giving the sound more "hiss". The reverse applies in decreasing
the velocity or force of the air-stream.
(v) The shape of the oral cavity, and in particular, the position and
shape of the various articulatory organs (tongue, lips, etc.).
In this complex parameter, where the mouth itself acts as a resonance

90
filter, the air-noise is modulated in exactly the same manner as the sounds
of unvoiced speech (whispering) are modulated by the various consonants and
vowels. The eff ecti veness of the modulation is dependent upon the
particular technique under consideration (as is the effectiveness of the
previous parameters), and where the technique is particularly conducive to
this type of modulation, it is possible to articulate the air-sounds in
such a way as to make the recorder almost speak! (Note that the resonance
characteristics created by fingerings and some other parameters on the
recorder, as discussed above, may enhance or negate this effect). Some
musicians have already begun to explore the possibilities of instrumental
quasi-speech *, but as yet not in relation to the recorder. 1 Such
possibilities may be notated in detail by specifying the particular
alphabetical letters or phonetic symbols desired for the relevant envelope
characteristics - attack, sustain and release - of the sound, as discussed
in Chapter 1 concerning articulation. Here, one must bear in mind that the
sustain characteristic of the sonority may utilize fricative, sibilant or
fluttered sounds as well as the usual vowels, and that unlike traditional
recorder playing, the vowel sound here has a profound effect upon the final
sonic result. Furthermore, even for very short sonorities, the sustain
characteristic is important as it determines the shape of the oral cavity
and to some extent the shape and position of the articulatory organs
in the attack, and hence also has an influence upon the attack timbre of
the breath sonority. In order to maximize the effect of recorder quasi-
speech, somewhat exaggerated articulations are required, as one would apply
in a clearly enunciated whisper.
All of the above parameters are combinable and may be applied or
modified almost instantly. Furthermore, within each parameter, smooth and
gradual transformations are possible and are effective in varying degrees
according to the particular musical situation, yielding many types of
timbral glissandi. By applying the remarks concerning vibrato derivation
given in Chapter 2, such timbral glissandi also give rise to the
possibility of various kinds of lip-, jaw-, tongue- or breath-generated
vibrati manifesting themselves (some of which were discussed in Chapter 2),
as well as unique varieties of vibrato existing solely within the realm of
breath sonorities (such as those involving variations in the angle of the
air-stream with respect to the instrument). These shall be discussed in
due course.

91
General Notations 2

(a) Breath Sonorities mixed with other sounds.

These possibilities shall be notated normally, according to the sound

accompanying the breath-coloration, but with the following additional
symbols being placed above the stave indicating specific amounts of breath-
coloration:
o I Maximum breath-coloration of the given sonority.
0-----, Much breath-coloration of the given sonority.
@r----r Slight breath-coloration of the given sonority
No breath-coloration of the given sonority. This symbol is
used mainly to avoid ambiguity, in conjunction with the other symbols, the
absence of any breath-coloration symbol implying no breath-coloration.
o (!) A transition between amounts of breath-coloration of a given
sonori ty, assumed to be uniform unless otherwise directed. (For a non-
uniform, but non-specific transition, the given extender may be replaced
with a broken line with dots: cr-.-'-'-'-'-'-(!) ).
~ Breath sonority vibrato, according to the given contour

between the extremes of breath-coloration as indicated. (This manner of
notation, with the appropriate contour, should also be used to indicate a
specific but non-uniform transition). Further types of breath sonority
vibrati and their notation will be discussed in due course.
In each case, the extender or contour indicates the duration of the effect.

For single sonorities with constant amounts of breath-coloration, the first

three symbols above (without extenders) may be placed on the note-stem (if
applicable) thus:

etc.

The note-stems may well need to be extended in order to incorporate

the symbol adequately. (Note that the absence of any breath-coloration
symbol here implies no breath-coloration, as usual).

(b) Pure Breath Sonorities.

The note-heads, showing duration, should be drawn as follows:

~ (semibreve), ~ (mini m), + (crotchet), f (quaver), etc.

92
The semibreve note-head should be utilized in spatial notation systems, and
one should also observe the correspondence between the notations of these
two subsections. Further relevant notations shall be discussed in due
course.

The following breath sonorities, which shall be examined at a later

date, have been omitted from the present study, their complexity and scope
being beyond the range of this work:
(a) Breath sonorities generated solely by window manipulations, the
recorder otherwise being normally blown and fingered.
(b) Most breath sonorities realized on separate sections of the recorder.
(c) The so-called "wind-rush" or "white noise" effect,3 denoted most
r-.
. ,......
frequently ln scores by ~R

Hence, only a selection of the available breath sonorities will be examined

here.

3.1 Breath Sonorities initiated at the Beak

In traditional recorder playing, the concept of embouchure is

virtually non-existent, as the player's lips are not directly concerned
with tone production apart from the fact that they provide an air-tight
connection for the breath being expelled from the player's lungs into the
windway of the recorder. With Avant-Garde concepts of recorder playing,
this is not the case however, as the performer's lips may be directly
responsible for the final sonic result in that they are able to mix breath-
colorations in with the normal recorder sound in various ways and degrees.
This particular type of manifestation of breath sonorities is by far the
most common, being in this area of possibilites perhaps the most immediate
natural extension of traditional recorder technique. Two methods of
producing breath sonorities here, according to variations in lip or mouth
position with respect to the beak, have thus arisen:

(1) Breath sonorities may be generated and mixed in with normal recorder
sonorities in different ways or amounts by opening the mouth (parting the
lips) in varying degrees. The beak then rests upon the lower lip, and the
air-stream flows partly through the windway, as usual, but also partly
outside and past the beak. This technique can be utilized over the whole
range of the instrument (but with less flexibility in every aspect in the

93
higher registers), and may be applied or removed instantly. Variations in
the shape of the oral cavity yield only very subtle timbral changes in the
lower registers, with negligible changes for high notes , and as the lips
are parted more and more, or as higher notes are required , increased
diaphragmatic tension and breath pressure is needed in order to maintain a
steady air-flow into the wind way. Furthermore, the character of
consonantal attacks where the point of articulation is in the forward part
of the mouth is modified, making the actual tongue-noise arising from the
attack more prominent. This remark mainly applies to lip, longitudinal and
dental attacks in any technique requiring the lips to be separated from the
instrument . (Nevertheless, quasi-speech effects are applicable and
effective here) . Several examples of this manner of breath sonority
generation follow. Observe that the amount of breath-coloration in the
examples is rarely indicated, and that the means of achieving it is hardly
ever given!

Ex . 3-1. Werner Heider: Katalog .

(a) Spiel: Bars 15, 23-4. (Sopranino recorder)

f
(mp-====) (P) pp

(b) Ausspiel. (Bass recorder)

rrr
m

12367
1TU!ZZO

" } = Breathy tone (blowing-in effect!)"

94
Ex . 3-2 . Konrad Lechner: Varianti . Thesis 4 , p. 6 . (Tenor recorder)

4 Ir.L~of~'~~im~i~sch'u-ng'/~w~it~h~adLn~
/jx7tu~re~o~if~ai~r--------------------------------Ij ~
~ #::>;~ ~
41 t "l ftp
p
,-J'--,
.tip "I V #E'!I,,!
tk . . ...
'-tJl J ----~
PJ I' I
> . >
r~' ~

" X\ - notes with admixture of air "

Ex .3-3. Klaus Hashagen: Gestures .

(a) p. 9. (Alto recorder)

11'30"

c
I .....

(b) p.13 . (Bass recorder)

st;,ot

L,--------
'J x -==== --==.'

~B 7 ~ ,

[I.S . l X denotes breath-coloration.

Ex.3-4. Sylvano Bussotti/Michael Vetter: Rara. No . 39 , p . 2.

(Alto recorder)
x _______--,

t
I""P

[I.S.l X denotes breath-coloration.

95
Ex . 3-S . Konrad Lechner: Spuren im Sand . No.7, p.6 . (Recorder in C)

1':\

~1f'{= > >

p -=1

"
r
X note with audible admixture of breath"

Ex . 3- 6 . Will Eisma: Wonderen zijn schaars . p.12 . (Alto recorder)

[1.S.] X denotes breath-coloration .

Ex . 3-7 . Rob du Bois: Pastorale VII . No.8D, p.ll. (Alto recorder)

~ rt1r~
pp (dolce)

[I . S.] x denotes breath-coloration .

Ex .3-S. Hans-Martin Linde: Amarilli mia bella. p.7. (Alto recorder)

p(mif Luff)

"mit Luft: tone mixed with breath"

96
Ex.3- 9 . Gerhard Braun: Monologe I . (Alto recorder)

>
J ~-.-/""'-- ... ~.:. "!" 1'\ r-

J.....3W I 1:1 ==,

-----+ _L
J..
~,cJj~ .K
,
~ ~
--- ---.
al nlehte
, ----
'b..l
Flatterzunge ml "
Luftbelmlschun i=-"

- :=
A
I
A
- .' r.
Hi'
.. ~
r.'\
t
b
l ,A r.\

"1 = Ton mit Luftbeimischung" n .s.: tone with admixture of air ]

Ex . 3-10 . Werner Heider: Musik im Diskant. (Sopranino recorder)

(a) Bar 3 of p.3.

(b) B. p . 3 . (Lufton)

\I .,
I .,,, I
1~
I
."
'ftI..v. -~.

,
flU..

(c) M. p. S.

7.b
e
~ ~ ~ I
I I I
I I , ~

;
I
3 6 "l- S 10 11
I
,
~t
gl:H.
--- - J 7I7?
I I
I In.
b&
III f
:i- >k

"t = tone mixed with air"

97
Ex . 3- 11 . Richard David Hames: Ku . (Alto recorder)
(a) p.5 . 4th system . (b) p . 6. 4th system .

o~--------------------.
S~.
(,) 0----,

.bQ--........_
S'I.
~' .
m----~==============~\
- --m-rr--

(c) p. 5 . 3rd system . (d) p. 4 . 6th system .

(e) p.6. 3rd system . (f) p.7. 4th system .

--= f==========~--~O

See Gener al Notations, above .

This particular breath sonority te c hnique is quite independent of

articulati on : any articulation may be utiliz e d. For exampl e, Ex .3-1 2
requests a dental attack with breath-coloration. (See also Ex.3- 11 , which
requests various breath-colour ed articulations).

Ex . 3-12 . Hans- Martin Linde: Music for a Bird . No . 6 . (Alto recorder)

! L t
Lrlt

" t, = sharp attack, with the mouth slightly open" .

98
Breath-coloured grace notes before or after another sonority are also
possible:

Ex.3-13. Konrad Lechner: Varianti. Thesis 1, p.4. (Tenor recorder)

Luft

-'(e
wind
flaltomenl

~ ~

" X1 = notes with admixture of air "

(See also Ex.3-2 and Ex.3-7).

In fact, it is quite feasible to request this type of breath-

coloration in varying degrees in each of the separate envelope
characteristics of an articulation; that is, one only of attack, sustain
or release characteristics being mixed with a breath sonority. This is
very difficult to execute with respect to the sustain characteristic (a
slight discontinuity between attack and sustain often resulting), and the
release characteristic must be a vowel for the effect to be achieved in
this part of the envelope. Naturally, this subtle technical possi bi1i ty
applies only to the mixture of breath-coloration with other sounds. A
suggested notation is to place one of the first three symbols of General
Notations (a) above the appropriate symbol in the articulation syllable:

'lui)

r
(Note that with articulations having a vowel release, it is possible to mix
breath-coloration with the attack and the release).

Composers have furthermore shown a marked predilection for the breath-

coloration of reiterated articulations such as doub1etonguing or tongue
tremolo (Ex.3-14 to Ex.3-16) and in particular flutter tonguing (Ex.3-17 to
Ex.3-26). Both of these applications yield quite distinctive sonic
results.

99
 Ex.3-l4. Ryohei Hirose: Lamentation.
(a) p . S. (Tenor recorder)

>
,.
/V"VVVVV"\..
I
> > >

-
L< t.,(fJ" ~ II~" 1f)'':'I;):,",' L ,-, ,(J.(H: J l: ;""':7)'>,. TKTK !:"X <
Separate the upper lip a little from mouthpiece in order to
add breathing noise 'and tongue "TKTK."

(b) p.14. (Alto, Tenor and Bass record ers )

. P crese:. _ ~ : - - - - . . - m.f

frh rtf tIl wrIrUm

~ ,
liUn :tlJl [I ijr"11
VVVVVVVVVVVV'.

(indelerminated pit(' h ~s) : 0f

P cresco - - - - . . - - - . - ~ -~ - f\/'v"VVVVV'V'

:lIqrUm tIb1h ,, i/ ~I i mp {' T('se . _ _ _

( inul' lermi nat ed pitches)

~ /\/'VV'VV\ set the instrument to lips as below.

~ tt144 "T KTK " is tonguing indication with-
T K TKTKTK Ollt utterance and fingering is the
sanle as usual
preface:

Ex .3-lS. Ryohei Hirose: Meditation . (Alto recorder)

(a) p.2
(B)

100
 (b) p.3

/'vVV\

See Ex .3-14 for technical indications.

(Both of these examples by Hirose show a marked influence of shakuhachi

technical procedures, including a similarity in playing position, as
indicated in the drawing accompanying the technical instructions).

Ex .3-16. Konrad Lechner: Varianti. Thesis 2, p.S. (Tenor recorder)

= notes with admixture of air"

Here, only the second part of the doubletonguing is breath-coloured, this
being rather difficult to perform . (This example is related to the
previous rem arks concer ning breath-colorati on of separate envelope
characteristics). See also Ex.3-2, which includes a breath-coloured tongue
tremolo.

Ex.3-17. Luciano Berio: Gesti. p.4 . (Alto recorder)

Mouth

Fingers")

Here,
"$ = breathy flutter tongue r
T
= throat fluttertongue"
both throat (uvular) fluttertonguing and the usual dental
flutter tonguing are coloured with breath-sound. See also Ex.3-11(e) , which
shows a breath-coloured uvular fluttertongue .

101
Ex.3-l8. Hans-Martin Linde: Fantasien und Scherzi. Fantasie I.
(Alto recorder)

~
FIT.g.
" r-t = rushing Fluttertongue (do not close lips stongly, so that
tongue movement can be heard as noise" [tr. Eric Gross ]

Ex . 3-l9. Hans-Martin Linde: Musica da Camera. No.2F, p . ll.

(Alto recorder)

Adagio F1z9j *
ps.v.
8,. - - - - - - - - -,
4/1 '

<D 3
p C.v.

" FlzCj. * flutter tongueing with mouth open"

Ex . 3-20. Rob du Bois: Muziek voor Altblokfluit . p. 2. (Alto recorder)

" x = an almost imperceptible tone and a very audible breath noise"

Ex.3- 2l . Arne Mellnas: The Mummy and the Humming-Bird . 2nd movement ,
p.5 . (Soprano recorder)

-
- --
3

----- --
- - -- - --- - --
r
II t~.,-,.;-:-:-.::=--=----=-= .=_~_':2=-=====-:-~:~~

" \fl7\ = 'rauschende Flatterzunge'" [l.S . : noisy (breathy)

fluttertongue ]
Note also the trills and glissandi.

102
Ex . 3-22. Kazimierz Serocki: Impromptu Fantasgue . No . 86-7, p . 24 .
(Alto recorder)

I I...... ca I" ....

a ~I t.I flIt lln;tj

. PPP "-'
I
'*J !Ii!;u;uj
~ ~'----=------
'- I

"a noise, frullato"

Ex . 3- 23 . Kazimierz Serocki: Concerto alIa cadenza.

(a) No.132- 4 , p . 1S . (Bass recorder)

132~ 133~ 134~

I
I
I Crullelo scmpre
I
I

mill rDiillIfJ @
ppt
I
_ ~
I
_,-.- ei C. +...... .
~~ ~.t:::t ~. ;'~'~~' . .. .. :..L ."
..... :. 1
I
PPP I

18"
I

"unspecified noise , frullato; the wind pressure as little as possible ,

below the level at which sound is produce~'

103
 (b) No.249 , p.23. (Great bass recorder: Bass clef)

249i
I
I
I
I

~~~i>L:~v~~>~~v~!~~~~,'~--------v
"a defined noise, frullato"
These techniques are also employed in Serocki's piece Arrangements .

Ex . 3-24 . Richard David Hames: Ku . p . 2. 7th system . (Alto recorder)

i r--:r 5".,. - - , r - - 1: It ------,

JJ ~'*
: ,5',,"-, 1\

-4JJ
- t ~ { '"r======
" ! Breathy flutter tongue"
Again the flutter tongue is uvular . Ku also abounds with examples of both
types of flutter tonguing mixed with breath-coloration in varying degrees,
constant and variable.

Ex . 3-25 . Werner Heider: Musik im Diskant . p. 12. (Sopranino recorder)

" t = tone mixed with air"

Ex.3-26. Rob du Bois: Spiel und Zwischenspiel. Bar 110. (Alto recorder)

[I . S. : with air, rushing]

See also Ex.3-9 (fluttertonguing with admixture of air) .

104
 Transformations in the amount of breath-coloration may also be
utilized and have been applied to a limited extent by composers (Ex.3-27 to
Ex.3-30). Most composers only spe c ify a transition from an unspecified
degree of breath-coloration to a sound free of breath-coloration (Ex.3-29),
or vice- versa; Richard David Hames has demonstrated that finer tolerances
are possible. Hames has also uniquely extended this area of breath
sonority technique to include breath sonority vibrati! (Ex.3-31).

Ex .3-27 . Werner Heider: Katalog. Spiel: Bar 8. (Alto recorder)

~ ~za vj!r. ==
ren
}y
if r ~Il Y'
ad lib. poco a poco;'
p

" ), Breathy tone (blowing-in effect!)"

Ex . 3-28. Martin Gumbel: Notturno . p.6. (Bass recorder: Bass clef)

No metre . rhythms corresponding t o notstion . Tone should

become noiser and finally resolve into pure hissing.

mf'::::=- p - ' .fi '

Ex . 3-29. Rob du Bois: Pastorale VII. No.4C , p . 9. (Alto recorder)

"If P p(dolu) =- PP:-==

[I.S.1 X denotes breath-coloration.

Ex . 3-30 . Richar d David Hames: Ku . p. 6. 1st system. (Alto recorder)

.-0
S~
.... _ _ - - __ _ _ _ _ _ _ _ _ __ - - -- 0
n 0>--------~

bo ,5'... , () M"~,
'j ~h (PJ~r--_ _--::[:_]----=o--iliii+M+ir-r-i-+...;-...;---;.--

See General Notations , above. (There are very many different

examples of this procedure employed in Ku).

105
Ex.3-31. Richard David Hames: Kll. p.3. 6th system. (Alto recorder)

I I

-. '
bi I.Ii~ 11 i
5\/ II .0-- :. f - - - - + - - - - - - - - t - - - - - - - - - i - - - - - - - - - i i -__
-R 1 0 0 ~o ~ ~ ~ ~
~+r f .1 Uf L-U ,1 l"
~m[~---------===-==============-=~=<=~==~=-==========~==~=<=>=J

" 11:._{!):ll ' Indicated

(breath-coloration contours) to be
repeated ad libitum f or the duration of the arrow."

(2) Breath sonorities may also be generated and mixed in with normal
recorder sonorities in different ways or amounts according to variations in
the lip or mouth position with respect to the beak, by removing the beak
from the lips altogether as air escapes and maintaining a continuous air-
flow into the windway. This gives rise to very similar sonic results as
before, but with several restrictions being placed upon the t echnical
possibilities. Alto C~ seems to be the approximate upper limit to which
the technique may be applied, and the technique is generally more awkward
to execute, as it is difficult to di rect sufficient air into t he windway.
This remark is increasingly pertinent as the technique is carried out upon
higher and higher notes, and so explains the existence of an upper limit to
the pitch-range. (In general here, the flexi bility of every aspect of the
technique is again further diminished as one ascends). Furthermore, the
amount of breath-coloration is variable only within a fairly limited ambit,
this being achieved basically by varying the distance between the lips and
the beak, the awkwardness just mentioned becoming a crucial factor. Note
also that the timbre of the recorder sound itself changes as this distance
is increased, particularly in the 1st register, and most strikingly with
the very lowest notes. As before, the timbral quality of the breath
sonority itself is quite variable and quasi-speech effects are still
possible (bearing the abovementioned limitations in mind).
This technique, whilst not as flexible as the previous one, came into
existence as a result of other techniques which can only be executed when
the beak is removed altogether from the li p s, as in the case of
simultaneous whistling and playing upon the recorder (where the shape that
the lips take must be tightly defined and normally remain utterly unimpeded
in order to enable any type of whistling to occur; in fact, all whistling
is derived from fricative articulatory resources). However, it does have
some special possibilities of its own. For example, the recorder sound may

106
be dissipated altogether amongst the breath-coloration as the beak of the
recorder is moved further and further away from the lips*, with some fall
in pitch (Ex.3-32), and a special type of vibrato or tremolo has arisen
whereby the beak of the recorder is physically moved around wi thin or in
and out of the field of breath-flow, yielding a striking, intermittent
recorder sound coloured by the breath sonority.** (This should perhaps be
characterized verbally in a score).
Both of the general technical possibilities outlined above should be
bas ically notated as recommended in General Notations (a), with other
possibilities within these two basic frameworks being notated accordingly,
as suggested. (One can best distinguish between these two technical areas
themsel ves in a score by resorting to verbal indications). Some examples
of breath sonorities resulting from the removal of the beak from the mouth
follow:

Ex.3-32. Colin Sterne: Meadow , Hedge , Cuckoo. p.3. (Alto recorder)

"u Draw recorder away from mouth, continuing to direct breath at it

through pursed lips, until pitch finally becomes inaudible."

Ex . 3-33 . Mauricio Kagel: Musik fur Renaissance-Instrumente .

(a) p.17. (Alto recorder)

--
~r I -==-1("- '-'J! -I
I - - - - -""'1.,.
I ' .......
r.1
-"-

J I
(,)r 1il11,"H.oI...
01 ~ - -jp
I
I

L;/I'" , .. fju ..... I 1 i

I

"Remove instrument slowly from the lips. e" fingering. Breath alone
gradually (moving to) whistling." [tr. Eric Gross ].
Here, the physi cal removal of the recorder and the resultant breath
sonority function as a prelude to the whistling (see above).

107
 (b) p . 20 . (Tenor recorder)

I .,

"(whistling). [lst instance]: Remove from the mouth. [2nd instance]:

Remove from the mouth ( gr adually). Breath: pp (fluttertongued)."
[tr . Eric Gross].
The first instance of this technique here is again connected with
whistling; the second instance exist s for its own sake!

Ex . 3-34. Hans-Martin Linde. Musica da Camera. No . 2E, p.ll. (Alto recorder)

f
"sputato: notes produced with short articulation; head of instrument
held at a short distance from the lips".
The use of the term "sputato" here is unfortunate, as the sonic result is
very different to a true "sputato" sound .

Ex.3-35. Gerhard Braun: 5 Miniaturen . (Soprano recorder)

(a) No . 1, p.l.

"Remove the headpiece from the lips (admixture of air)." [tr. Eric
Gross] .
(b) No . 5, p. 7.

"Remove the recorder from the lips" [tr. Eric Gross].

108
Rolf Riehm also exploits this technique in Gebrauchliches.

A related technical possibility, briefly discussed by Bob Margolis,4

involves directing the air-stream into the windway at an angle or sideways
(as opposed to the normal procedure of blowing directly into the windway),
with a partial separation of the beak from the lips. This is achieved by
deflecting the recorder in a horizontal direction (usually to the right),
thereby creating eddies of air in the recorder as the breath- flow bounces
around within the windway. This modifies the recorder sonority itself in a
striking manner, yielding a foggy, hollow, distant sound with variable
amounts - and, to a lesser extent, varieties - of breath-coloration
according to the exact shape of the lips. Note that even though the
recorder sound is softer, the pitch remains constant unless a change in
breath pressure also occurs. Furthermore, it should be pointed out that
though some reorders have arched windways,S this does not seem to be a
factor in either the execution of the technique or its sonic result. The
technique is also able to be applied or quitted instantly, with the
inherent dynamic possi bili ties there by giving subtle echo effects (Ex.3-
36(b. A gradual transition between ordinary blowing and blowing into the
recorder at an angle is possible and effective, ** and a vibrato derived
from this resource** is possible in theory but rather awkward in practice,
the results being somewhat similar to a strong jaw vibrato (due to the
physical movement involved).
This technique may be utilized up to approximately ci, with increased
diaphragmatic tension being required as one ascends, coupled with increased
performance difficulty and inflexibility regarding the amount and timbre of
the breath-coloration. A very important resource is that in the 1st
register, the technique may be applied with amounts of breath-coloration
varying from none at all (Ex.3-36(a to a maximum amount of breath-
coloration, according to the shape of the lips. 6 Above the 1st register,
breath-coloration is unavoidable (Ex.3-37). The indication to direct the
breath into the windway at an angle should be notated as in Ex.3-36,
together with the recommendations of General Notations (a) for varied
amounts of breath-coloration.

109
Ex.3-36. Neil Currie: Stopping by Woods on a Snowy Evening.
(Tenor recorder)
( a) Bar s 5-6.

1st register: no breath-coloration .

(b) Bars 33-4.

Echo effect: Bar 32 has exactly the same material, played normally (mf).
(c) Bars 64-5.

An instant return to the normal playing position.

" 131 : Blowing into the windway of the recorder at an angle (holding
the instrument somewhat like a flute), with as little extra air-noise
as possible. This will result in a "foggy", "hollow" or "distant"
timbre at the indicated pitch. This mode of playing is cancelled by
HI"

110
 Ex . 3-37. Benjamin Thorn: Canard-Canard. 2nd movement, Bars 7-11.
(Alto recorder)

()
~ f ~~~d~U~-~#., ~tt .,."""'.L:i
10 ....-----..Ito
__ ..1'1
~.~-

...- ~.
~'.-J
,
-
~
...-~
....
~
~ )
I- ....... ...... t'
"""

)===--=-===- ltd,
y
..... ...........
-

'~alf blowing at tt : between these two symbols blow into only

half the mouth piece. This results in a very breathy tone."
This passage (which again functions as an echo), is unavoidably "breathy",
as most pitches belong to the 2nd or 3rd register. Thorn's description of
the technique when executed literally, yields very similar results in the
1st register to those discussed above (always "breathy"), but is much more
difficult to apply and control in the higher registers. Furthermore, at
the piece's first performance in Sydney (1984), Thorn played this passage
by blowing into the windway at an angle, as discussed above. (Benjamin
Thorn seems to have pioneered this technique in recorder composition) .

Breath sonorities may also be initiated and mixed with other recorder
sounds at the beak of the recorder with the player's lips basically
remaining upon the beak in their normal position. This is achieved by
generating sustained fricative and sibilant sounds in different ways and
amounts, derived directly from the various fricative and sibilant
articulations respectively, discussed in Chapter 1. The derivation occurs
simply by modifying the air-stream with the teeth, jaw , tongue or lips as a
result of maintaining the initial attack position for the relevant
articulation. (Sustained sibilant and labiodental fricatives sounds of a
slightly different quality may also be generated by maintaining the
relevant tongue position and clenching the teeth . ** This lowers the
frequency of the noise's resonance peak slightly, and lends itself to the
kinds of transitions to be discussed below, as well as articulation and, of
course, vibrato: the sibilant jaw vibrato has already been discussed).
Such breath sonorities in fact may be combined with all other breath
sonorities, and may be applied or modified instantly.

III
 The amount of breath-coloration can be considerably varied in several
ways. A gradually increasing proportion of breath sonority may be achieved
by smooth manipulations of transformations in the shape of the oral cavity
and position of the articulatory organs, commencing with a vowel, as usual
(no breath-coloration), moving to lax fricatives or sibilants ('v', 'dh',
'z', 'zh') and thence to the corresponding tense fricatives or sibilants
('f', 'th', IS', Ish'). A maximum amount of breath-coloration can then be
created by drawing the lips back onto the edge of the beak, in which case
some air may escape the windway, depending upon the exact lip position. It
is also possible to increase the amount of breath-coloration with an
increase in breath pressure alone.
Smooth timbral transitions are available furthermore between any two
sustained sibilants** or any two sustained fricatives.** Such transitions
crossing the two basic areas are, in certain circumstances, somewhat
problematic, as the transition may not be smooth and a rearticulation, gap
or "bump" may occur. For example, smooth transitions are not possible
between 'th' and's' or Ish' (and all their lax variants) whereas
transitions between If' and's' or Ish' (and all their lax variants) may be
executed in a perfectly smooth manner. (This is easily verified by
carrying out the various transitions independently of an instrument, as
previously discussed). Naturally, problematic transformations here may be
made smooth through the insertion of the normal vowel midway between the
two extremities of the transitions.
Again, smooth transitions yield unique types of breath sonority
vibrati, between different types of sustained fricative** or sibilant**
sound, or between varied degrees of friction** or sibilance** (the sibilant
and fricative tongue vibrati examined in Chapter 2 being particular cases
of the latter phenomenon).
The breath sonorities discussed here have an upper limit of
approximately alto C~, with increased diaphragmatic tension or breath
pressure being required as one ascends, as well as an increased difficulty
in the performance of all transitions and a narrowing in the overall
timbral range available resulting: amongst sustained fricative sounds 'th'
and its lax variant 'dh' are effectively available in the 1st register
only!

Sustained fricative and sibilant sounds are notated by specifying the

relevant consonants for the required partes) of the articulation envelope,
placing the letters between apostrophes (in order to avoid confusing

112
 certain fricative sounds with dynamic indications), with the other
resources discussed above being notated according to the recommendations of
General Notations; extenders, for example, should clearly show the duration
of the effect. Where applicable, for the sake of consistency, vibrato
contours should be of the same type as used for tongue vibrati:
~ .

Ex.3-38. Mauricio Kagel: Musik fur Renaissance - Instrumente. p. 14.

(3 Bass recorders and Great bass recorder).

~1aL1. -"L~ ./ " """ 1.. ...1 ri; Icc. (~I.~!CC.J __

-- - - - - -- c..l

-1fI".".. ..1
, -
~m}-Ir.~.,
, ( ....t ...-~. - - -A

2. 'tJ.L.r;j4 - -) T, -- - - - - --- -- - - --
I . '-
~ ,
~
I
Ltrl-'
IN;"" \' 1- ~lli. .k.il('''~ ....... )
I
J
II-
l!. >1L Jr.
'- -- - - -- J
~

~ ,
J
'--~"" '
La,".!
J -Ir. 6 ~~ [-I;,~.... (,.U.'Io ~..... ) I :J
III "" ."

(fil) V Lr I l- I ... :J---:" --......-

I
.1 lIP~ .. r I I

, , I

I I I I I

fill ~'kl';:, ,- /;It.:l ... ~i.: ., )..t..cA A~t"- ,, __ )0/ -I..rl ....

"* Continuous glissando with rushing undertone admixture. Maintain the

utmost air pressure labially (between ppp and mf)." [tr. Eric Gross ].
This gives a sustained fricative sound generated from 'f', where the air is
forced between the lips. For an example of a sustained sibilant sound, see
Ex . I-55 in s ection 1 . 1 . 9.

With all of the above breath sonorities, which fall into the category
of exhal ed breath sonorities initiated at the beak, fingering manipulations
as well as manipulations of the end of the foot joint and the window affect
only the particular recorder sound being mixed with the breath sonority.
That is, such breath sonorities are independent of these technical
parameters. Let us now consider inhaled breath sonorities initiated at the
beak, t hese being "pure" breath sonorities.

Inhaled breath sonorities generated at the beak** are characterized by

113
the sound of rushing air together with an undertone or soft, hollow pitched
sound corresponding to the particular 1st register fingering. 7 The
undertone, which is always pitched in the 1st register here, is extremely
soft by comparison with the air-sound, making amplification of these
sonorities obligatory if the undertone is to be projected at all. These
breath sonorities are basically notated as suggested in General Notations
(b), the written pitch corresponding to the undertone. Air-sounds are made
louder here by inhaling harder, according to the dynamic indication. When
the window is progressively covered (usually with the right hand), the
undertone falls gradually in pitch, up to approximately a min. 3rd below
the 1 st register fingering, and the tim bre of the air-sound is modified,
with the resonance peaks falling in frequency and amplitude so that the
air- sound is softer and lower-pitched. (The air-sound is actually
generated by air flowing past the edge into the bore end of the windway).
When the window is tightly covered, inhaling hard will in addition give an
extremely high, soft whistling sound which rises in pitch the harder one
inhales.
All of the possibilities discussed in the previous subsection may be
applied here, with corresponding sonic r esults, notated accordingly.
However, note that inhaling with the recorder held at an angle, which may
possibly be notated as 151 ,yields undertones which are barely
audible to the player, but prominent high-pitched air-noise. Furthermore,
audible inhaled (and certain exhaled) effects away from the beak of the
instrument are completely independent of it and really fall into the
category of (unvoiced) vocal effects. It is rather curious that musical
examples seem only to exist for this latter technical possibility!

114
 Ex . 3-39 . Heir Mindel: The Cat ch . p. 7. (Soprano recorder)

" r "
-3---,

fP

,
~i +.. ,
" = loud breath"
In the recording of this piece (see the Discography), heavy breathing (in
and out) occurs at the 3rd system (where 3 audible breath-intakes over 2"
is i ndicated) .

Ex . 3- 40 . Werner Hei der : Musik im Diskant . (Sopranino recorder)

(a ) A. p.l.

11.onl~'
0 J
&pya-run 0 -"

oclu pic.c.ol.o
.. ~)
I:":
~~&---~ ~ ~ ~ . ~

~( ~:It
Cembalo
oOl~y
KLcx.vie.r
~
,.F.6~~~~ i~
. ~.F.:~

-t6:f>
II
s: Jr=

" J = ha rbar einatmen" n .s.: audible i nhala t ion ]

115
 (b) R. p.9 .

~ I
1-
I
3
I
'r
I
5
I
(,
I
1-
I
8
I
Cf
I
10
I
11
I
1~
Ir-I'
110 1

RJ-nlgnJ.
I

1-4-+L I

"horbar ausatmen" [lo S. audible exhalation]

Ex . 3-4l. Gerhard Braun: Minimal Music II. (Alto recorder)

dazwis chen : mehrma ls rasch aus- und einatmen :

in between: quickly breathe out and in several times : "n V n

(The so-called "dog-pant" effect!) .

Ex . 3-42 . Milko Kelemen: Zehn Fabeln. No . 7. p.l O. (Alto recorder)

Frei
r-' J ~58

t-

Ausalmen - ) ein~tmen .)
"
",tJ
.)Instrument l~cI1t ,nt(*rnr vom Mund~ Iwlten, d~nn ;JUS- vnd elniltmen.

"Exhale *) Inhale * ) *) Hold the instrument sl igh tly away from the
mouth, then exhale and inhale." [t r. Eric Gross].

Ex . 3-43 . Konrad Lechner: Varianti. Finis 2 , p.lO. (Tenor recorder)

Luf!gerausch durch Eina!men

wind noise generated by in-
llullin g

pp :

It is unclear here whether the player is to inhale with the i nstrument away
from the lips or in the norma l position.

116
Ex.3-44. Luciano Berio: Gesti. p.4. (Alto recorder)

" = inhaling; o = vocal sound"

Audible inhaling, with a vocal addition (i.e. voiced inhalation).

3.2 Breath Sonorities initiated at the Window

The recorder is unique amongst wind instruments in that its sound

production mechanism is placed in two distinct and easily accessible
locations 8 : the beak end of the windway where the player in traditional
performance practices initiates sound by blowing, and the window region
containing the labium and edge, which is responsible for the actual sound
formation. This mechanism therefore logically lends itself to the extended
Avant-Garde possibility of initiating sound directly at the window, with
the recorder being held somewhat in the manner of a flute.
Breath sonorities generated at the window are particularly flexible,
and, like inhaled breath sonorities generated at the beak, are
characterized by rushing air-sounds together with an undertone whose pitch
is dependent upon the particular 1st register fingering. The undertone is
usually quite strong and is greatly enhanced by amplification. Apart from
this, the overall loudness of the sonic result is determined by the
velocity of air-flow, as indicated by the given dynamics. The sound
mechanism here consists of two coupled resonance filters - the oral
mechanism and the recorder itself - and is particularly amenable in most
cases to the production of the quasi-speech effects previously described,
which should be notated accordingly: any articulation may be utilized. The
technique may be applied, modified or quitted instantly, even with the
player's lips initially at the beak, thereby opening up the possibility for
the creation of wonderful echo effects (Ex. 3-45).
The mouth position (which determines the extent to which the

117
performer's lips close over the window) together with the angle of air-
flow, have a profound effect upon the sonic result. When the window is
open, the lips rest upon the beading and the pitch of the undertone exactly
correponds to the 1st register fingering. A gradual closing of the window
up to a certain point with the lips continuously flattens the pitch of the
undertone up to approximately a tone below the particular 1st register
fingering. (This is particularly noticeable in the case of fingerings
above and including 21). Hence, a (pitch) glissando of the undertone is
possi ble by means of closing the window, in addition to the normal
fingering possibilities. Note that manipulations of the end of the
foot joint do not react here in any unpredictable manner: all fingerholes
and the end of the foot joint closed, for example, yields a very stong
undertone pitched between B~ and A~, depending upon the lip position, as
expected. However, beyond this point of window closure, the undertone
pitch drops indeterminately until the undertone is pitched a min. 7th below
the pitch normally produced by the 1st register fingering, when the lips
entirely close over the window. (Observe that in this case, some air also
flows through the windway, subtlely modifying the timbre of the air-sound.)
In general, with the lips closing the window, the undertone pitch is
somewhat obscured, but may be made more clear by utilizing sustained
sibilant or fricative sounds, whose mouth-generated resonance peaks widely
differ in pitch as compared with the undertone. Furthermore, the pitches
of undertones corresponding to 1st register fingerings for F~ and above are
flattened somewhat indeterminately less than a min. 7th. Many forked
fingerings also seem to yield undertones with particularly obscure pitches
here. When the lips totally close the window, closure of the end of the
foot joint may also modify the undertone pitch in unpredictable ways which
do not necessarily correspond to the sonic result of the same fingering
played normally. This remark is particularly pertinent when many
fingerholes are closed.
Concerning the angle of the air stream, when the window is open, a
vertical airstream (inhaling or exhaling directly into the beading) yields
very high-pitched air-sounds with quite faint undertones. Similar results
apply to a complete window closure with an oblique air stream, though the
strength of the undertone here seems to be unaffected. Furthermore,
blowing directly at the edge with a fairly high breath pressure and an open
window may give an "edge tone" in addition to the undertone, which sounds
like the normal recorder tone somewhat enstranged, mixed in with breath-
coloration. This corresponds to the sound production mechanism of the

118
 flute!
All of the above remarks again give rise to the possibility of several
kinds of transi tions, yielding pitch and/or tim bral glissandi, which in
turn suggest vibrati generated by the oral mechanism, angle of the air
stream or mouth position (potentially awkward), or various combinations of
these, notated accordingly.
Exhaled and inhaled sonorities here, in general, yield very similar
sonic results, with occasional deviations: inhaling with the window
covered gives a slightly softer air-sound and clearer undertone, as
compared with the corresponding exhaled sonority; inhaled sonorities with
the window open in any degree gives only very faint undertones. The
following notations and abstract pictograms are suggested:

(a) Increasing amounts of window closure, from open to completely closed.

D>
These pictograms should be placed above the stave and are taken to
apply until otherwise directed.

(b) Air-stream angle should be notated as recommended in General Remarks,

the first arrow being placed above the initial window pictogram.

(c) Undertones:

Ope.n"",;ndow- - - - - - - - - - - - - - - - - - - - - - - _ ~ Clo~ w;n~ow

I~ ~4 Ij~ ~ ..... ;~ij4 ~,4 ~",,<ti ,k : 1j~4 ~ij4 ij~'>j .10. ; ~i

~
kfq ijo
~i>
d,

+ etc. denotes the resultant pitch of the undertone, depending upon

the amount of window closure.
o denotes the pitch normally produced by the corresponding 1st
register fingering, where different to the undertone pitch. Fingering
tablature may be omitted in the case of standard fingerings, but must be
given where, for example, the end of the foot joint is closed or alternative
fingerings are employed.

Few composers of recorder music to date have shown an interest in this

rich technical resource, apart from the following examples:

119
Ex . 3-45 . Eric Gross: "Ian's Shenanigan" No.l. p.l. (Alto recorder)

1PP

"J = Hold the recorder transversely (like a flute), blowing into

the window so as to produce faintly the pitches fingered. The stream
of air should be directed towards the edge, with a gentle lip attack".
Note the echo effect and immediate application: "do not pause". The lip
attack (accented, explosive) enhances the effect.

Ex .3-46. Neil Currie: Stopping by Woods on a Snowy Evening. Bars 35-6.

(Tenor recorder)

~
"7
v~~~--~I~----+-~r~~----~
I

, mf ==========--1P",O
-

'~old the recorder like a flute and blow into the window directing the
air stream towards the edge at first [I.S. with the window open,
aspirant attack, vowel "a" yielding an open oral cavity], but
gradually cover the window with the lips, as indicated. When the
window is [I.S. completely ] covered, move the tip of the tongue
gradually towards the upper teeth (as if to say "s") , making a hiss
[1.S. sustained sibilant sound]. Quite fast , random finger movement
is to be carried out for the duration of this effect, resulting in
slight and unpredictable pitch and timbral changes. The finger
movement may slow down as the sound dies away ."

Ex.3-47. Gerhard Braun: Minimal Music II . (Alto recorder)

CEj) ... '" Q::J

Ansaugen und bl asen am Labium und an de n vers ch iedenen Grifflochern
Suck in and blow at the lip and at different finger- holes

120
Ex.3-48. Juliusz Luciuk: Monologues and Dialogues. No. VIII .
(2 Soprano recorders)

VIII

serioso PP
roo

jednostajna pulsacja szesnastkowa bez
wzgl(tdu na zmian~ ugrupowan rytmicz-
nych (kwartola , triola , duo Ie)
.. a) odrealnione brzmienie
b) 9ra Hna sucho ~ bel dzwi(tku
c) normalne brzmienie pod lukiem
regular pulsation 01 semiQuav ers irre- regelmaBiges Pulsiel'en der Sechzehntel
spective afthe change of rh ythmic groups ohne Rucksicht auf die Veranderung der
(quadruplet. triplet, duplet ) rhythmischen Gruppierung (Quartote.
Triole . Duole)
a) with an abnormal tone
b) ~ dry- playing , i. e. without producing a) mit verlremdetem Klang
the sound b) . trocken - spielen, d. h. ohne hor-
c) normal sound . as if slurred baren Ton
c ) normaler Klang , Tone gut verbunden
(quasi legato)

"** a) with an abnormal tone b) "dry" playing , i.e . without

producing the sound c) normal sound , as if slurred"
It seems that the player has a choice between these three possibilities (no
other clarifying indication being given here). Exhaled breath sonorities
generated at the window would be very appropriate in this situation
(dynamic pp) for alternatives a) or b). (Note the mirror structure of the
piece)

3.3 Further Breat h Sonorities: Examples of Miscellaneous Possibilities

Two further possibilities for generating breath sonorities will be

briefly discussed here. A fuller examination of them will follow at a
later date.

121
3.3.1 Breath Sonorities initiated at the Fingerholes

A logical deduction arising from the circumstance of being able to

generate breath sonorities at the window is that such sonorities may be
initiated wherever the player can cause air to flow! This suggests the
possibility of initiating breath sonorities at the fingerholes. All of the
resources discussed previously may be applied here, being appropriately
notated. Extremely loud (blown) sonorities generated at the fingerholes
are possible, and choosing different fingerholes to exhale or inhale into
yields different sonic results, though it is most convenient to utilize the
left hand index fingerhole. With the exception of window manipulations, in
all situations (including most cases where the end of the foot joint is
closed), the resultant undertone sounds at the same pitch as the normal
fingered pitch, one here defining the fingerhole where the sound is being
initiated to be (partially) closed, according to the exact position of the
performer's lips. When the left hand index fingerhole is being utilized to
generate the air-flow, the pitch range of the undertone covers the whole
1st register: for F~ and F~, the thumbhole is (partially) opened
accordingly, and for G~ it is opened completely. Furthermore, closure of
the end of the foot joint gives sonic results which are dependent upon the
fingerhole chosen to initiate the breath sonority! In general, quite
varied timbral results are available in this technical area.

The direction to generate breath sonorities at a fingerhole should be

given verbally, with the chosen fingerhole being defined by drawing a
horizontal tablature pictogram above the stave (in order to avoid confusion
with fingering indications). The arrow showing the angle of air-flow
should clearly indicate the chosen fingerhole, exhaling or inhaling across
a fingerhole being denoted by a horizontal arrow. The amount the player's
lips close over the chosen fingerhole is indicated by choosing the
appropriate fingerhole tablature symbol for that hole. Other aspects of
notation follow on from the previous discussion.

122
Ex . 3-49. Mart in Gum bel: Re corder Tales. No. VI, p. 3.
(3 recorders of equal pitch: Soprano recorder notation)

....

z~,~ J 1"0"' fP
I'I\J
4-) ~
~

)(
----c:::.::; x-
~)(
--- "x
)( '""","

ff. rp I

4) Hold the r eco rder si deway in such a manner th at the left hand
closes the labium while t he right hand covers the l owest 3 to 4
finger -h oles approximately. A whispered (i. e. non-voc al)
hissing tone is now r eq uired to be produced in t he tone -holes
that remain uncovered. This is subjected to constant change,
accomplishied by conti no us ly a lt ering the shape of the oral cavi -
ty. The di rections implied by the symbol )( accordi ng to its po-
preface: siti on on th e staff a r e as follows:

~ = open tone -ho l es

-- close labium
cl ose tone - holes
=-=' and labium
~ = open to ne - holes
and la bium

(Manipulations of the window flatten the pitch of the undertone here , as

expected) .

Ex.3-S0 . Meir Mindel: Genesis. p .S.

(2 Soprano recorders, Alto and Tenor recorders)

s
I
I
,
s. I o--Et
-
~
~
[l
~Fl

" "- - -- if"

-
.Jo..

,oJ
T.
""- PV ~ ~ i) H~ ~ V
p bi ~

123
 J. Blow into the aiddle part, aa Into a aide
flute, while beatinl with a finler on one
of the holea.
preface:
4. Blow Into on. of the holea, aa with a aide
flute, while the finlera acal. up or down.

Blowing across a fingerhole (in particular left hand fingerholes) as

if into a (Baroque) flute (Ex.3-50), may project a normal flute-like tone
as well as an undertone and air-sound. This resource has yet to be studied
in detail; it is suspected that the sonic results may well be
unpredictable. This is a technique practised by the Dutch Avant-Garde
recorder ensemble known as Sour Cream (all of whose members play the
Baroque flute), who also occasionally have two performers playing upon one
instrument, one blowing it normally whilst the other plays it "Baroque
flute-style"!
See also Ex. 3-47 for an example of breath sonorities initiated at the
fingerholes.

3.3.2 Breath Sonorities initiated at the Upper Tenon

By removing the headjoint of the recorder and utilizing only the

middle and foot joints, breath sonorities may furthermore be initiated at
the upper tenon. A wide choice of mouth positions and angles of air-flow
are available. Air may be caused to stream across the top of the upper
tenon, which is thus open (Ex.3-51 and Ex.3-52) or directly in the bore
with the tenon being completely closed over (Ex.3-53 to Ex.3-55). All
available resources discussed earlier in this chapter are available here
and should be notated accordingly. The pitches of the resultant undertones
seem to be largely indeterminate, though pitch-differences do become
apparent when finger movement occurs. (Lower-pitched undertones are
naturally generated when many fingerholes are covered). Furthermore, the
pitch seems to be dependent upon lip position, lower pitches resulting from
having the lips increasingly close to the upper end of the bore. Closing
the end of the foot joint here also gives radical and unpredictable changes
not corresponding necessarily to the usual normally-played sonic results
which occur when the end of the foot joint is similarly closed.

124
 Concerning notation, having given the pictogr am indicating the use of

middle and foot joints: 11 ,the lip position can be defined with the

usual arrows indicating t he angle of the air-flow t ogether with the

following symbols pl aced above the s t a ve indicating the amount that the
lips close over the tenon, the order or pr esentation here indicating a
successively increasing amount of closure:

(open) fI ff ~ -rf ~ (closed)

Note that the symbols co r respon d t o the fingerhole tablature . Other

aspects of notation follow on from previous discussions.

Ex.3-Sl. Ryohei Hirose : Lamenta tion. p.ll. ( Alto and Tenor recorders)
**
~ttfffiif f' I: -r L I~l fmif (J) It'fffiW ~lIX.~ ~'IJ '~ vD ~ T
UH5~ R.J~:7) J:: 11':~ < wave the instrument a little

* __ ..,.,../..,.,../ _ _ _
>
-1
W.N.
:!::::::
.If

x_____ I
.If
n** remove the head joint and blow i nto the middle joint, in the same
way as blowing across the mouth of a bottle to produce a sound."
The indication A~ in the alto recorder part is rather curious.

Ex.3-S2. Ryohei Hirose: Meditation . p. 2 . (Alto recorder)

(I) ll ,i!i: J I'j [tl
indicates rhyt hm only; the player may select pi tches

)( )(

ca. =lO" - 15"

~ti ffla~; f I! i" L. Itl fiGff 7) IJ ~'.i"J. ~ \ 'Il ~U'li. ~ 0.' IJ' i"
Uri, ~ R /,71 J: -j I: u:.; ( ' t' ffr, 'IT: ~ vbT.., ~1f ~ vl>';' T *

n* remove the head joint and blow into the middle joint, in the same
way as blowing across the mouth of a bottle to produce a sound
add breathing noise and wave the inst rument a little to produce an
off key pitch"
Both of these examples involve blo wi ng air across the top of the tenon. It
is very difficult to produce the sound Hirose seems to requ i re here,
analogous to the sound produced by blowing across the top of a milk bottle.
The best results ar e obtai ne d when all of the fingerholes are closed
(yielding the required sound and undertone pitched around dl), and
particularly when the end of the foot jo i nt is closed as well (these

125
sonorities then being pitched around E~). Dr. Gerhard Braun 9 suggests
filing a notch in the tenon, which would then function like the edge and
labium of the headjoint, but this should only be done on an otherwise poor
instrument. The construction then directly corresponds to the Japanese
shakuhachi, which Hirose continually evokes in all of his recorder pieces.
Even the requested mechanical movement of this instrument, a type of jaw
vibrato, relates directly to the shakuhachi vibrato generated by shaking
the head. (As Hirose indicates, the pitch of the sonority changes
according to the physical position of the lips with respect to the upper
tenon, as discussed).

Ex.3-53. Gerhard Braun: Monologe I. (Alto recorder)

(a)

v n n

"Blasgerausch am Flotenrohr" [1.S.: Blowing noise into the bore of

the middle and foot joints]
"V = einatmen. [I.S.: inhalation] = ausatmen. [I.S. n
exhalation]"
The fingering indication requests a trilling movement of the right hand
middle finger with all of the other fingerholes being closed.
(b)

8i ins Rohr - gefiiistert

H"Tone "geraten in Bewegung - steigen auf - gleiten ab -

c deformieren sich - finden sich wieder - stilrzen ab ins Gerausch -

1 kehren zurUck zum Ursprung:

"ins Rohr-geflustert" [I. S. : into the tube - whispered]

Breath sonorities generated at the upper tenon giving quasi-speech effects
based upon the given German words. Braun also utilizes this technique in
his Minimal Music II, where whole sentences are spoken into the barrel of
the recorder (in German or English).

126
 Ex.3-S4 . Kazimierz Serocki: Impromptu Fant asgue.
No.13-7, p.9. (Sopranino , Soprano, Alto and Tenor recorders)

14. 15. 16+,

17. I

'" .1xumHl YmnU flili!!e

r : ,~~.nmOO: " t1!mmiriUD .- .
fb a~l,fn!lllillllttt
m" --..:.:....
'<l!HHIIJ"
' ~ , --- --- '
I . _. -

l'~ tmmummll"@Il'ltV' :
+ --_~
o ------ + .........
~
0 ~ , ~
J
"-'-:---

"instrument with the mou th-piece detached; an unv oiced , very rapid
frullato blown into the pipe, legatissimo"
This gives a rather deep, fluttered sound. The 1st register pitches
indicate the fingeri ngs to be employed, as is a lso the case in Ex.3-SS.

Ex . 3-SS . Kazimierz Serocki: Concerto alIa cadenza . (Alto recorder)

(a) No . 60, p . 10 .
61~
quasi slep-ton - - - - - - - - - - - - - - - - __ I

p --~===============f
I

Individual breath sonorities with fingerslapping (?) ("quasi slep-ton" is

not explained).
(b) No . 63 , p.10.

6~
I
I
I
I

~tttjj V
"!f I
I

Doubletongued breath sonority; flutter tongued breath sonority with and

without t r illing finger movements.

127
 (c) No.65, p.10.

6l 61 I

er:J r-r=5:i
I
I

r' P f PI

Fluttertongued and trilled breath sonorities, legat(issim)o.

" ~
::r = an unvoiced frullato blown into the pipe of the instrument
with the mouth-piece detached"

No prefatory remarks are made here concernin g non-flutter tongued breath

sonorities initiated at the upper tenon.

Notes

1. See, for example, Erickson (1975): pp.65-8, in which instrumental

quasi-speech effects are discu s sed in r e l a tion to Erickson's High
Flyer (1969) for solo flute and General Speech (1968-70) for solo
trombone. See also Heiss (1972):pp. 155-7.

2. This notation-system is due to Richard David Hames, and is an

elaboration of the one provided by Stone (1980): pp.186-7.

3. German: "Weisses Rauschen". This technique is fingering-dependent

and generally arises from over blowing and covering or closing the end
of the foot joint.

4. Margolis (1976): p.121.

5. For example, the Moeck "Rottenburgh" and Zen-On "Bressan" recorders

possess arched windways, for constructional stability.

6. For such breath-coloration, Margolis (ibid.) suggests a lip position

between and English If' and Spanish 'v'. Precise lip posi tions should
be determined individually, however.

7. These sonorities will be familiar t o most players, which arise when

one inhales in order to unblock the windway!

8. This remark applies also to the crumhorn, but its reed mechanism,
which forms the sound, is not readily accessible.

9. Braun (1978): pp.48-9.

128
 FINAL REMARKS

What of the recorder's future? The eminent German recorder player and
composer Dr. Gerhard Braun believes that we have presently reached an
impasse in the development of recorder playing techniques, 1 but this is
certainly not the case, for there is still a multitude of potentially
fruitful technical areas in recorder playing and composition yet to be
investigated in detail, supplementary to some of those already discussed in
this study. Some technical possibilities have been barely studied at all
by anyone, whilst others seem to be new discoveries or usages in the realm
of modern recorder playing. A few of these possibilities, all of which may
freely interact with one another, include the study and use of recorders
constructed from radically different materials such as metal or plastic;
instruments of widely varying bore and voicing characteristics, together
with the related area concerning the application of replicas of historical
recorders and performance practices from the Renaissance and Baroque
periods as well as so-called "Baroque pitch,,2 instruments in an Avant-Garde
context, and also the continued investigation of timbral, monophonic,
multiphonic and microtonal resources on all sizes and types of recorder, as
well as its interface with electronic and computer technologies. Avant-
Garde techniques and aesthetics, being the fruit of experience and
experiment, have thus provoked further systematic exploration and
experiment, opening up vast new regions of recorder possibilities likely to
take many years to fathom deeply. Indeed some, such as those linked with
technological advances, must necessarily remain ongoing studies. This type
of approach is a fundamental and indeed necessary characteristic of all new
and vital music, outlining to one area with which my future work will be
concerned.
One must however again point out that such an evolution of
instrumental technique always invol ves an essential, intelligent
colla boration between composers and performers (and more and more
frequently practitioners of other disciplines as well), who would
additionally benefit from a detailed investigation of non-Western and folk
music traditions and musical instruments, where in fact it is suspected
that many apparently new instrumental techniques may have been employed for
centuries, having been written down or transmitted orally (as is thought to
be the case with the Japanese shakuhachi, for example). In this regard, a
study of other Western musical instruments may present in addition further

129
fruitful technical or notational analogies for the recorder. Conversely,
it is hoped that one may find applications elsewhere for Avant-Garde
recorder techniques and notations!
Absolutely fundamental to this continuing evolution of instrumental
technique (and indeed all new music) is the role of the music educator, for
the success of this vast field of study is in essence a question of
education and habit. Young musicians, from an early age, must be made
aware of the possi bili ties which then become fundamental and natural to
them.

The recorder is now in a position encompassing vast new freedoms and

resources, where the formulation of musical theories can and must wait.
Yet the pursuit of these fresh possibilities and their applications must be
tempered with good taste and instinct, for only then will the recorder
remain a truly living musical instrument.

Notes

1. Braun (1978): p.93.

2. Alto A~ = 415 Hz.

130
 BIBLIOGRAPHY

A. Articles and Pamphlets.

1. Anon.: "Things to Come?" Recorder and Music Magazine vo1.1 no.4 p.127,
Feb. 1964.
2. Arran, Roderick: "Muziek voor Altblokfluit - Rob du Bois" Recorder and
Music Magazine vo1.7 no.4 pp.91-4, Dec. 1981.
3. Baur, Jiirg: "Revolution der Blockflote" Instrumentenbau Zeitschrift
vol.17 no.11 pp.363-4, Nov. 1963.
4. Bergmann, Walter: "Recorder Dynamics" Recorder and Music Hagazine
vol.4 no.9 pp.316-7 , March 1974.
5. Clark, Paul: "Yodelling for the Recorder Player" Recorder and Music
Magazine vo1.6 no.9 pp.264-5, March 1980.
6. Clemencic, Rene: "Neue Klang- und Ausdrucksmoghlichkeiten der
Blockflote" Osterreichische Musik - Zei tschri f t vol. 26
pp.222-30, April 1971.
7. Heiss, John: "The Flute: New Sounds" Perspectives of New Music vo1.10
no.2 pp.153-8, Spring 1972.
8. Horner, Keith: "Frans Briiggen on Contemporary Music for the Recorder"
Recorder and Music Magazine vol.4 no.10 pp.352-4, June 1974.
9. Hund-Davies, Malcolm: "A Review of Historical Styles of Recorder
Playing: Part 1" Recorder and Music Magazine vo1.6 no.3
pp.66-8, Sept. 1978.
10. Hunt, Edgar: "The Recorder and the Avant Garde" Recorder and Music
Magazine vol.S no.6 pp.195- 202, June 1976.
11. Lander, Nicho la s S.: "The Recor der - Instr umen t of Tort ure or
Instrument of Music?" Australian Journal of Music Education
no.26 pp.29-36, April 1980.
12. Malinowski, Stephen A.: '~e: A Composer's Guide to the Recorder by Bob
Margolis (Febru a ry 1976). Corrections and Additions" The
American Recorder vol .17 no.1 p.6, 1976.
13. Margolis, Bob: "A Composer's Guide to the Recorder" The American
Recorder vol .1 6 no . 4 pp .113-22, 1976.
14. Martino, Donald: "Notation in General- Articulation in Particular"
Perspectives of New Music vo1.4 no.2 pp.47-58, Spring 1966.
15. Morgan , Fred: "Old Recorders and New Ones" The Recorder: Journal of
the Victorian Recorder Guild no.l pp .12-6, March 1984.

131
16. Ng, V.B.H.: "A Fingering Discovery" Recorder and Music Magazine vol.2
no.4 p.11S, Feb. 1967.
17. O'Loughlin, Niall: "The Recorder in Twentieth Century Music" Early
Music vol.10 no.1 pp.36-7, Jan. 1982.
18. K.H.R. (sic): "Die Eroffnung eines 'Seminars fur experimentelle
Blockflotenmusik'" Osterreichische Musik - Zeitschrift vol.
23 p.231, April 1968.
19. Silbiger, Lex and Breed, Alex.: "Notes on composing for the Recorder"
The American Recorder vol.6 no.4 pp.S-6, 1965.
20. Vetter, Michael: "Elecktronische verstarker fur B1ockflote"
[Information Sheet] H. Moeck Verlag, CelIe. n.d.
21. "Die Chance der Blockflote in der neuen Musik" Kontakte no.3
-----
pp.107-8, 1966. [Reprinted in Recorder and Music Magazine
vol.2 no.S p.l33, May 1967 under the title "The Challenge of
New Music" (Eng. tr. by Bill Hopkins).]
22.
- - - - '~eistungsmoglichkeiten der Blockflote und ihre Tauglichkeit
fur die neue Musik" Kontakte no.S pp.191-2, 1966.
23. _____ "Apropos Blockflote" Melos vo1.3S pp.461-8, Dec. 1968.
24. (Engl. tr. Bill Hopkins) "Recorder Works by Jurg Baur"
-----
Recorder and Music Magazine vol.2 no.7 pp.226-7, Nov. 1967.
2S. (Engl. tr. A. Defries) "New Recorder Music from Holland"
Sonorum Speculum no.31 pp.19-2S, Summer 1967.
26. Ward, Stuart: "Composing for the Advanced Recorder Player" Recorder
and Music Magazine vol.S no.4 pp.118-20, Dec. 1975.
27. von Winterfeld, Linde Hoffer: '~riffkombinationen und Klangfarben auf
der Blockflote" Tibia no.2 pp.77-80, 1976.
28. Zielinski, Tadeusz A.: "Concerto alIa Cadenza by Kazimierz Serocki"
Recorder and Music Magazine vol.6 no.3 pp.68-71, Sept. 1978.
29. "Anmerkungen zu Arrangements fur 1 bis 4 Blockfloten von
Kazimierz Serocki" Tibia no.1 pp.23-8, 1980.

132
B. Books.

1. Bartolozzi, Bruno (Engl . tr. and ed. Reginald Smith Brindle): New
Sounds for Woodwind, 2nd edition, Oxford University Press,
London, 1982.
2. Braun, Gerhard: Neue Klangwelt auf der B1ockflBte, Heinrichshoven's
Verlag, Wilhelmshaven, 1978.
3. Caravan, Ronald L.: Preliminary Exercises and Etudes in Contemporary
Techniques for Clarinet, Ethos Publications, U.S.A., 1979.
4. Charlton, Andrew: The Charlton Method for the Recorder: A Manual for
the Advanced Recorder Player, University of Missouri Press,
Columbia, 1981.
5. Davis, Alan: Treble Recorder Technique, Novello, Great Britain , 1983.
6. Dempster, Stuart: The Modern Trombone: A Definition of Its Idioms,
University of California Press, Berkeley, 1979.
7. Dick, Robert: The Other Flute: A Performance Manual of Contemporary
Techniques, Oxford University Press, London, 1975.
8. Erickson, Robert: Sound Structure in Music, University of California
Press, Berkeley, 1975.
9. Ganassi, Sylvestro: Opera Intitulata Fontegara, Venice, 1535 (ed.
Hildemarie Peter, Engl. tr. Dorothy Swainson, Robert Lienau,
Berlin-Lichterfelde, 1956).
10. Gartner, Jochen (Engl. tr. Einar W. Anderson): The Vibrato, with
particular consideration given to the situation of the
Flutist, 2nd edition, Gustav Bosse Verlag, Regensburg, 1981.
11. Giesbert, Franz J.: Method for the Treble Recorder, 2nd edition,
Schott and Co. Ltd., London, 1957.
12. Goodyear, Stephen F.: The Recorder , Hodder and Stoughton, London,
1978.
13. Howell, Thomas: The Avant-Garde Flute: A Handbook for Composers and
Flutists, University of California Press, Berkeley , 1974.
14. Hunt, Edgar: The Recorder and its Music, revised edition, Eulenberg ,
London, 1977 .
15. Kottick , Edward L.: Tone and Intonation on the Recorder, McGinnis and
Marx, New York , 1974.
16. Ladefoged, Peter: A Cou r se in Phonetics, Harcourt Brace Jovanovich,
Inc., New York, 1975.
17. Linde, Hans - Martin (Engl. tr. James C. Haden): The Recorder Player's
Handbook , 2nd edition , Schott and Co. Ltd., London, 1974.

133
18. Peter, Hildemarie (Engl. tr. S. Godman): The Recorder: its Traditions
and Tasks, Robert Lienau, Berlin-Lichterfelde, 1958.
19. Rehfeldt, Phillip: New Directions for Clarinet, University of
California Press, Berkeley, 1977.
20. Rowland-Jones, Anthony: Recorder Technique, 2nd edition, Oxford
University Press, London, 1969.
21. Schmidt, Ursula: Notation der Neuen Blockflotenmusik: Ein Uberblick,
H. Moeck Verlag, CelIe, 1981.
22. Stone, Kurt: Music Notation in the Twentieth Century: A Practical
Guidebook, Norton and Co. Ltd., New York, 1980.
23. Vetter, Michael: II Flauto Dolce ed Acerbo: Instructions and Exercises
for Players of New Recorder Music, 2nd edition, H. Moeck
Verlag, CelIe, 1974.
24. Waitzman, Daniel: The Art of Playing the Recorder, AMS Press, New
York, 1978.
25. Wollitz, Kenneth: The Recorder Book, Alfred A. Knopf, New York, 1982.

134
 LIST OF AVANT...:GARDE WORKS FOR RECORDER{S)

This listing includes pieces utilizing the recorder with Avant-Garde

techniques, notations or musical concepts, in addition to those works
exemplified in the text, so that at the present time the list is as
comprehensi ve as possible. Nevertheless, please note that in some
instances bibliographic details are lacking, such as the date of
composition or place of publication. Furthermore, note that works with
non-specific instrumentation, some of which have been realized on
recorder(s), have been excluded from the list. (Some examples of these
appear in the Discography which appends the following listing).

Abbreviations.
Electronics: Electr.
Flute: Flo
Guitar: Guit.
Keyboard(s): Keyb(s).
Harpsichord: Harpsich.
Organ: Org.
Piano: Pft.
Orchestra: Orch.
Percussion: Perc.
Recorder(s): Rec(s).
Sopranino: s
Soprano: S
Alto: A
Tenor: T
Bass: B
Great Bass: G
Contrabass: C
Strings: Str.
Violin: Vln.
Viola: VIa.
'Cello: VIc.
Double Bass: DB.
Trombone: Tbn.

135
 1. Ahearn, Michael: Amicizia, (A), 1984. Manuscript.
2. Alemann, Eduardo Armando: Spectra, (4 Recs.), A.R.S. Ed. No. 79,
Galaxy Music Corporation, New York, 1975. (Record + Score.)
3. Andriessen, Louis: Ende, (2 Recs. - 1 player), 1980. Manuscript.
4. Melodie, (A, Pft.), THR 5, Schott, London, 1972-4.
5. Paintings, (Rec., Pft.), E.M. 5026, Moeck, CelIe, 1965.
6. Sweet, (A), TIfR 2, Schott, London, 1964.
7. Bandt, Ros: Drifts on Sand, (A), date? Manuscript.
8. Flight, (A), date? Manuscript.
9. Meditation, (A), date? Manuscript.
10. Bank, Jacques: Wave, (Amplified B, Optional Perc.), Donemus,
Amsterdam, 1975. [The amplified bass recorder version is
entitled Blue Mosque.]
11. Baur, Jiirg: Concerto da Camera, (Rec., Orch.), E.B. 6762, Breitkopf
and Hartel, Wiesbaden, 1975.
12. Incontri, (A, Pft.), E.B. 6923, Breitkopf and Hartel,
Wiesbaden, 1960.
13.
- - - - Mutazioni, (A), E.B. 6451, Breitkopf and Hartel, Wiesbaden,
1962.
14. _ _ _ _ Pezzi Uccelli, (Rec.), E.B. 6472, Breitkopf and Hartel,
Wiesbaden, 1964.
15. _ _ _ _ Tre Studi per Quattro, (4 Recs.), E.B. 6689, Breitkopf and
Hartel, Wiesbaden, 1972.
16. Berio, Luciano: Gesti, (A), U.E. 15627, Universal Edition, Vienna,
1966.
17. du Bois, Rob: Muziek voor Altblokfluit, (A), TMR 1, Schott, London,
1961.
18. _ _ _ _ Pastorale VII, (A), E.M. 1522, Moeck, CelIe, 1964.
19. ----- Ricercare, (2-9 Recs.), date? Manuscript?
20. _____ Spiel und Zwischenspiel, (A, Pft.), Donemus, Amsterdam,
1962.
21. Bornefeld, Helmut: Concentus, (3 Recs.), E.M. 2522, Moeck, CelIe,
Date?
22. _ _ _ _ Flerilegium, (Rec., Keybs.), date? Manuscript.
23. Trivium, (Rec., Gamba, Org.), 1969. Manuscript.
24. Bosco, Gilberto: Le Tombeau d'Angleterre (Omaggio a Daniel Purcell),
(S ,A, T, B, VIa., Harpsich.), E.H. 9036, Heinrichshofen,
Wilhelmshaven, 1973.
25. Boyd, Anne: The Creation, (5 Recs., Perc.), 1965. Manuscript.

136
26. Braun, Gerhard: Birds, (Recs., Electr.), E.M. 2507, Moeck , CelIe,
Date?
27 . _ _ _ _ Eight Short Pieces, (S), E.H. 11.125, Hanssler , Stuttgart,
1974.
28. _________ Eight Short Pieces, (S, Perc.), E.M. 2502, Moeck, CelIe,
1974.
29. _ _ _ _ 12 Etudes, (A), E.M. 2533, Moeck, CelIe, Date?
30. ______ 5 Miniaturen, (S, Pft., Perc.), B.E. 554, Bosse, Regensburg,
1970.
31.
- - - - Minimal Music II, (Recs.), E.M. 1523, Moeck, CelIe, 1971-2.
32. _ _ _ _ Monologe I, (Rec. Player), E.H. 11.404, Hanssler, Stuttgart,
1968-70.
33. _ _ _ _ Nightly Visions (12 Christmas Impressions), (S), ZfS 461,
Moeck, CelIe, 1977.
34. _ _ _ _ Nocturnes, (Rec., Pft.), E.M. 1530, Moeck, CelIe, 1972.
35. ______ Recitatives and Arias, (T or S), E.M. 1521, Moeck, Celle,
1975.
36. _ _ _ _ Schattenbilder, (A), E.M. 2507, Moeck , CelIe, Date?
37. Broadstock, Brenton: Aureole 3, (Rec., Harpsich .), 1984? Manuscript.
38. Laudes, (2S, 2A, 2 Perc.), 1981. Manuscript .
39. Bruggen, Frans: Birdcatcher, (2 Amplified C), date? Manuscript .
40. Bussotti, Sylvano/Vetter, Michael: Rara (dolce), (A), Sy. 2198 ,
Ricordi, Milan, 1966/1969.
41. Casken, John: Thymehaze, (A, Pft.), TMR 6, Schott, London, 1979.
42. Clemencic, Rene: Chronos-Studien, (Rec. etc.), date? Manuscript?
43. Experience One, (Rec., Harpsich., Tape), date? Manuscript?
44. Maraviglia III, (3 Recs ., Speaker, 3 Str., Tbn., Perc.),
date? Manuscript?
45. _ _ _ _ Maraviglia IV, (3 Re cs., Harpsich., Tape), date?
Manuscript?
46. _ _ _ _ Sesostris I, (Rec., Harpsich., Guit., Gamba, Perc.,
Electr.), date? Manuscript?
47. Currie, Neil: Stopping by Woods on a Snowy Evening, (T), 1985.
Manusc ript.
48. Dolci, Amico: Nuovi Ricercari 1-3, (A), E.H. 1396, Heinrichshofen,
Wilhemshaven, 1972.
49.
- - - - Nuovo Ricercare 4, (2A), E. H. 1407, Heinrichshofen,
Wilhelmshaven, 1973.

137
50. - - - - - Nuovo Ricercare 5, (A), E.H. 1408, Heinrichshofen,
Wilhelmshaven, 1973.
51. Nuovo Ricercare 6, (Rec., Vln., VIc.), . E.H. 1413,
Heinrichshofen, Wilhelmshaven, 1974.
52. Donald, Ian: Construction for an Exhibition, (A,T, Fl.), 1975.
Manuscript.
53. Eisma, Will: Affairs II, (Rec. or Piccolo, Harpsich.), Donemus,
Amsterdam. 1963.
54. _ _ _ _ Wonder en zi in schaars, (A, Pft.), E.M. 1524, Moeck, CelIe,
1965.
55. Febel, Reinhard: 6 Bagatelles, (A, Pft.), E.M. 1528, Moeck, CelIe,
Date?
56. Geysen, Frans: Periferisch-Diagonaal-Concentrisch, (4 Recs.), TMR 4,
Schott, London, 1975.
57. Giefer, Willy: Cadenza, (A, Pft.), HG 850, Gerig, Cologne, 1970.
58. Gieseler, Walter: Breviarium, (A), E. M. 1520, Moeck, CelIe, 1960.
59. Griffiths, John: Conversation Piece, CA, Guit.), ZM 2073, Zimmermann,
Frankfurt, 1976.
60. Gross, Eric: "Ian's Shenanigan" No.I, (A), MCA Music (Australia),
Sydney, 1985.
61. Gumbel, Martin: Interludien, (A, Pft.), E.H. 11.120, Hanssler,
Stuttgart, 1964.
62. _____ Notturno, (B, 2 Gongs, Tape - 1 Player), E.M. 2512, Moeck,
CelIe, 1976.
63. _____ Recorder Tales, (3 Recs. of equal pitch), E.M. 2504, Moeck,
CelIe, 1976.
64. Hames, Richard David: Kli, (Rec., Dancer, Multiple Tape-Delay System),
edition modern, Munich, 1979.
65. Hashagen, Klaus: Gardinenpredigt eines Blockflotenspielers, (Rec.
Player), E.H. 11.402, Hanssler, Stuttgart, 1969.
66.
- - - - Gestures, (Recs., Tape), E.M. 5031, Moeck, CelIe, 1966.
67. Pan 2-mal, (2 Recs . , Live Electr.), date? Manuscript?
68. Heider, Werner: Katalog, (Rec. Player), E.M. 5025, Moeck, CelIe,
1965.
69. _ _ _ _ La Leggenda di Sant'Orsola, (3T), E.M. 2525, Moeck, CelIe,
Date?
70. Musik im Diskant, (s or Piccolo, Harpsich. or Pft., Perc.),
E.H. 11.403, Hanssler, Stuttgart, 1970.
71. Hirose, Ryohei: Idyll I, (4 Recs.), R-144, Zen-On, Tokyo, 1976.

138
72. ________ Lamentation, (2A,T,B), R-I04, Zen-On, Tokyo, 1975.
73. _______ Meditation, (A), R-I03, Zen-On, Tokyo, 1975.
74. Ode II, (2A), R-162 , Zen-On, Tokyo, 1980.
75. Huber, Nicolaus A.: Epigenesis I, (4 Recs.), BA 6109, Barenreiter,
Kassel, Date?
76. Ishii, Maki: Black Intention, (Recs., Tam-Ta m - 1 Player), R-143,
Zen-On, Tokyo, 1975.
77. Kagel, Mauricio: Musik fur Renaissance-Instrumente, (Renaissance
ensemble including Recs.), U.E. 13555, Universal Edition,
Vienna, 1965-6.
78. Karkoschka, Erhard: Floten-/Tonband-Spiele, (1 or more Rec(s)., 1 or
more Tape(s, E.M. 2513, Moeck, CelIe, Date?
79. _________ mit/gegen sich selbst, (Rec. Player, Tape), E.H. 11.401,
Hanssler, Stuttgart, Date?
80. Kelemen, Milko: Zehn Fabeln, (S,A), E.P. 8450, Peters, Frankfurt,
1980.
81. Kroll, Georg: Canzonabile, (B or B to T to A, Guit.), E.M. 1518,
Moeck, CelIe, 1976.
82. Con Licenza, (A), E.M. 1535, Moeck, CelIe, 1971.
83. L'Abbe, Jacques: Solo, (S,A,T,B), 1981. Manuscript.
84. Lampersberg, Gerhard: Xintranovadna, (5 Recs.-l Player, Org., Str.
Orch . ), date? Manuscript.
85. Lechner, Konrad: Dream and Daytime (12 Impressions), (S), ZfS 436,
Moeck, Celle, 1975.
86. _________ Engramme, (Rec., Harpsich., Perc.), E.M. 2516, Moeck, Celle,
Date?
87. _______ Lumen in tenebris, (3 Recs., Perc.), E.M. 2521, Moeck,
Celle, Date?
88. _______ Metamorphosen, (Rec., Pft. or Harpsich.), E.H. 11.117,
Hanssler, Stuttgart, 1967.
89. ________ Spuren i m Sand, (Rec. in C), E.M. 1526, Moeck, CelIe, 1976.
90. --------- Varianti, (T), E.M. 2508, Moeck, Celle, 1976.
91. Linde, Hans-Martin: Amarilli mia bella (Hommage a Johann Jacob van
Eyck), (Rec. Pla ye r), OFB 133, Schott, Mainz, 1971.
92. -------- Fantasien und Scherzi, (A), OFB 46, Schott, Mainz, 1963.
93. -------- Funf Studien, (A, Pft.), OFB 137, Schott, Mainz, 1974. [From
Modern Music Book for Alto Recorder and Piano.]
94. ________ Music for a Bird, ( A), OFB 48, Schott, Mainz, 1968.

139
 95.
----- Musica da Camera, (Rec., Guit.), OFB 135, Schott, Mainz,
1972.
96. _____ Vier Capricen, (A), E.H. 10/009, Heinrichshofen,
Wilhelmshaven, 1966.
97. Loeb, David: Variation, (4A), published in The American Recorder
vol.17 no.1 pp.24-5, 1976.
98. Luciuk, Juliusz: Monologues and Dialogues, (1 and 2 S), PWM Edition,
Krakow, 1977.
99. Mageau, Mary: Dialogues, (S,A,T,B), 1980? Manuscript .
100. Margolis, Bob: Dance, (S), 1972, published in The American Recorder
vol.17 no.3 p.116, 1976.
101.
----- Fanfare, (S,A - 1 Player), 1975, published in The American
Recorder vol.17 no.3 pp.113-5, 1976.
102. Masumoto, Kikuko: Pastorale, (Rec.), Zen-On, Tokyo, Date?
103. Medek, Tilo: Ikebana, (A, Pft.), E.M. 1533, Moeck, CelIe, 1975-6.
104. Nebelbilder aus Cornwall, (2S, A) , ZfS 530, Moeck, CelIe,
Date?
105. Mellnas, Arne: The Mummy and the Humming - Bird, (Rec., Optional
Harpsich.), Avanti ER 63, Edition Reimers, Stockholm, 1980.
106. Miller , Edward J.: Song, (S or A or T), McGinnis and Marx , New York,
1964.
107. 3 Trios, (3T), McGinnis and Marx, New York, 1958.
108. Mindel, Meir: Genesis, (5 Recs.), Israel Music Institute , Tel-Aviv,
1975.
109. The Catch, (Recs.), 1983. Manuscript.
110. Mittermayer , Georg: Drie Stucke fur Blockflotenensemble, (6 Recs.),
1973-4. Manuscript?
111. Moser, Roland: Alrune, (T), 1979. Manuscript?
112. Nobis, Herber t: Kontraste, (S, A), ZfS 505, Moeck, CelIe, Date?
113. Per Due, (2A), E.M. 1531, Moeck , CelIe, 1980.
114. Seven Phases, (A), ZfS 484, Moeck, CelIe, Date?
115. Okasaka, Keiki: Silent. .. and ... Hesitative, (Rec., Lute), No.8211,
Japan Federation of Composers, Tokyo, 1978-9.
116. Osborne, Nigel: Passers By, (B, VIc., VCS3 Synthesizer, Visual
Projection), Universal Edition, London, 1976.
117. Riehm, Rolf: Gebrauchliches, (A), E.M. 1534, Moeck, CelIe, 1972.
118. Rimmer, John: Mirror-Pond, (3 Recs ., Perc., Voices), Price Milburn,
Wellington, 1975 . [From The Recorder Book ed. Steve
Rosenberg. ]

140
119. The Exotic Circle, (s,S,A,T,B,G, Perc.), 1975. Manuscript?
120. Schat, Peter: Hypothema, (Recs ., Tape), Donemus, Amsterdam, 1969 .
121. Schonbach, Dieter: Canzona da Sonar III, (S, Pft., Tape), E.M. 5050,
Moeck , CelIe, 1967.
122. Serocki, Kazimier z: Arrangements, (1-4 Recs.), E.M. 1525, Moeck,
Celle, 1975-6.
123. ----- Concerto alIa cadenza, (Rec. Player, Orch.), E.M. 5181,
Moeck, CelIe, 1974.
124. _ _ _ _ Impromptu Fantasgue, (Recs., Mandolin s, Guits., Pft.,
Perc.), E.M. 5160, Moeck, CelIe, 1973.
125. _ _ _ _ Improvisationen fur Blockflotenguartett, (S,A,T,B), ZfS 255 ,
Moeck, CelIe, Date?
126. _ _ _ _ Krasnoludki (Die Zwerge), (S,A,T or A,T, B) , E.M. 3016,
Moeck, CelIe, Date?
127. Shinohara, Makoto: Fragmente, (T), TMR 3, Schott, London, 1968.
128. Sollima, Eli 0 d 0 r 0 : E v 0 I u z ion e 3 a, (A, P f t.) , E. H. 1402,
Heinrichshofen , Wilhelmshaven, 1972.
129. Staeps, Hans Ulrich: Rondelli, (2S, 2A, T), ZfS 280, Hoeck , Celle,
1962.
130. Sterne, Colin: Meadow , Hedge , Cuckoo (Variations on John Dowland's
Ayre: "Away with These Self-Loving Lads"), (A), A.R.S. Ed.
No.87, Galaxy Music Corporation, New York, 1978.
131. Stibilj, Milan: Kathai, (Rec., Spinet), 1972. Manuscript?
132. Stockmeier, Wolfgang: Divertimento, (2A, Guit.), ZfS 361, Moeck ,
Celle, Date?
133. ______ Drie Episoden fur Blockflotenensemble: I. Music mit Volks-
liedern, (3A), E.M. 1514, Moeck , CelIe, Date?
134. ______ II. Strukturen und Refrain, (S, 3A), E.M. 1515, Moeck,
Celle, Date?
135. _ _ _ _ III. Hor-Spiel, (SA, Vln.), E.M. 1516, Moeck, CelIe, 1974.
136. _____ Duo mit Suiten-Fragmenten, (A, Pft.), E.M. 1537, Moeck,
Celle, Date?
137.
------ Funf Inventionen uber Weihna chtsl ieder , (3A), ZfS 402,
Moeck, CelIe, Date?
138. Konversation, (2A), E.M. 1529, Moeck, CelIe, Date?
139. Tattersall, Malcolm: Alien Landscape II, (2A, 2T, B), Cootamundra
Music , 1982.
140. Ikaho, (B), 1978. Manuscript .
141. Teese, Robin: Organism, (B), 1978. Manuscript.

141
142. Thorn, Benjamin: Bagliori, (2S, Harpsich.), 1981. Manuscript.
143. Canard-Canard, (2 Rec. Players) , 1984. Manuscript.
144. Neurotika, (Rec. , Live Electr.), 1984? Manuscript .
145. Tiet, Ton-That: Ai Van 2 ~E2ita2he 22, (B, Harpsich.) , J.J. 885,
Jobert, Paris, 1972.
146. Tucker, Tui St George: Prelude and Blue for Erich, (3 Recs.), 1973-4.
Manuscript. [Reprinted in The American Recorder.]
147.
------ Sonata and Romanza, (each 1 Rec.), RCE No.14, Anfor Music
Publishing Company, New York, Date?
148. Urbanner, Erich: Nachtstlicke, (Recs.), 1978. Manuscript?
149. Vetter, Michael: Rezitative, fur einen Blockflotisten, (Rec. Player),
E.M. 5053, Moeck, CelIe, Date?
150. Weiss, Arleta: Adeludien, (S, Pft.), E.M. 1536, Moeck, CelIe, Date?
151. ______ Pan-epikon, (2S), E.M. 1538, Moeck, CelIe, Date?
152. Whitehead, Gillian: At Night the Garden was full of Voices, (2S, 2A
or 2T, 2B), Price Milburn, Wellington , 1977. [From The
Recorder Book 2. ed. Steve Rosenberg. ]
153. Winter-Owens, Terry: Five COID2ositions, (A), U.E. 14413, Universal
Edition, 1966.
154. Witzenmann, Wolfgang: Bordun nach d. Sommerkanon, (S,A,T,B), ZfS 442,
Moeck, CelIe, Date?
155.
----- Bordun lIon its own set of tones, (S,A,T,B), ZfS 472,
Moeck, CelIe, 1977-8.
156. Bordun III, (S,A,T,B), ZfS 544, Moeck, CelIe, Date?
157. Worrall, David: Silhouettes, (Recs., Tape), 1984. Manuscript.

142
 DISCOGRAPHY

This listing is merely a preliminary catalogue of some commercially-

available recordings, by no means exhaustive, of some Avant-Garde works for
Recorder(s). The numberings of pieces given here beneath each recording
reference correspond to t he numbering s in the previous alphabetical list of
works.

1. BBC Records REC 298. Recorder: Michala Petri.

No. 16.
2. BIS LP-48 Stereo. Recor der: Clas Pehrsson.
Nos. 91, 127.
3. BIS LP-68 Stereo. Recorder: Camilla Soderberg?
No. 105.
4. CBS Records CBS 71102. Recorder: Walter van Hauwe.
No. 76.
5. CBS Records IMI 20004 "Genesis". Recorders: The Mor-Li Recorder
Consort.
Nos. 108, 109 (pl. Michael Melzer).
6. Deutsche Grammophon 104993. Collegium Instrumentalis (Cologne), condo
Mauricio Kagel. Recorder players include Gerhard Braun,
Rene Clemencic and Michael Vetter.
No. 77
7. EMI Electrola SH2W903BL. Recorder: Michael Vetter.
Karlheinz Stockhausen: Spiral, (version for Rec.,
Electr.), U.E. 14957, Universal Edition, Vienna, 1968.
8. EMI Electrola/Odeon lC065-28841. Recorder: Hans-Martin Linde.
Nos. 18, 94, 95.
9. Galaxy Music Corporation Galliard GC-I03. Recorders: Pro Arte
Consort.
No.2. [Record available with score].
10. Kiwi SLD-38. Recorders: The College Consort.
No. 119.
11. Moeck E.M. 10.003 AlB "II Flauto Dolce ed Acerbo". Recorder: Michael
Vetter.
Nos . 13, 18, 66, 121, 149; Michael Vetter: Figurationen
III (version for Amplified Rec.), E.M. 5052, Moeck,
Cell e , 1967.

143
12. Muza S X 1315. Recorder: Czeslaw Palkowski. National Philharmonic
Orchestra (Warsaw), condo Andrzej Markowski. No. 123.
13. Odyssey 32160144 ODA 5059. Recorder: Bernard Krainis.
No. 106.
14. point 5003. Recorder: Michala Petri.
No. 16.
15. RCA Red Seal RL 30769 "Encore! Zugabe bis". Recorder: Frans Bruggen.
Nos. 3, 111.
16. Telefunken 6.42521 LC 0366 "Blockflotenmusik der Avant Garde".
Recorders: Wiener Blockflotenensemble.
Nos. 16 (pl. Georg Mittermayer), 75, 110, 122, 148.
17. Thorofon Capella MTH 171 6621520. Recorder: M. Friederich.
No. 16.
18. Unisono UNS 22 717. Recorder: Gerhard Braun. [Piano: Rudolf
Dennemarck] .
Nos. 31, 32, 34, 90.
19. Wergo WER 325. Recorder: Michael Vetter.
No. 40; Karlheinz Stockhausen: Spiral, (version for
Rec., Electr.), U.E. 14957, Universal Edition, Vienna,
1968.
20. Wifon No. 10 "Muzyka Polska". [Cassette recording]. Members of the
National Philharmonic Orchestra (Warsaw): Fistulatores et
Tubicinatores Warsovienses, condo Jan Krenz.
No. 124. (Available also on record: Muza S-3 XW-1892).

144
 APPENDIX

A COMPREHENSIVE SUMMARY OF TECHNICAL RESOURCES AVAILABLE ON THE RECORDER

A. Techniques concerning the Whole Recorder.

1. Single Sonorities.

1.1 Chromatic f i ngerings and Basic considerations.

Extended range (considerably above and below the
traditional range), Timbral and Dynamic possibilities,
Natural Harmonics and Undertones, Closure and Coverage of
the end of the Foot joint.
1.2 Quartertone Fingerings and further Microtonal possibilities.
1.3 Trills and Tremolos.
Fingered trills and tremolos, Breath-generated trills**
and tremolos**, "Clicky" trills and tremolos, Doubletrills
and tremolos *.
1.4 Glissando and Pitch Fluctuations.
Breath pressure glissando, Fingered glissando, Trill
glissando, Tremolo glissando, Finger glides * and Finger
glide tremolo**, Pitch fluctuations by "rolling" the
Recorder **
1.5 Manipulations of the Window.
Flattened pitches, Extremely high pitches.
1.6 Further Technical Resources.
1.6.1 Blowi ng air into the Windway at an angle.
1.6.2 Reedy sonorities*.
1.6.3 Timbral changes by squeezing the Bell between the
t highs ** .
1.6.4 Whistl e tones ** .
1.6.5 Inhaled * and Exhaled Harmonic Arpeggio; Inhaled
Harmoni c Arpeggio/Glissando generated at the Window.
1.6.6 Overblowing; Pitch-fall by Underblowing.
1.6.7 Click or Slurp effects.

145
2. Multiple Sonorities.

2.1 Multiphonic Fingerings.

Categories of mUltiphonics, Multiphonic trills or
tremolos, Multiphonic glissando, Spectral glissandi of
multiphonics, Multiphonics generated by Flutter-
. ** , etc.
tongulng
2.2 Combined Vocal and Instrumental Sonorities.
2.3 Whistling combined with Instrumental Sonorities.
2.4 Playing more than one Recorder simultaneously.
One-handed Recorders ** , Replicas of historical
instruments.
2.5 Sidebands - Beats and Differential Tones.

3. Articulation: including a consideration of the sustain and release

characteristics as well as the attack.

3.1 Consonantal Articulations.

Dental, Guttural, Aspirant, Semivocal, Longitudinal, Lip,
Palatal*, Fricative, Sibilant, Reflex articulations.
3.2 Vowel Articulations.
3. 3 . I atlons
Coartlcu . **
Dental + Sibilant, Guttural + Fricative, Guttural +
Sibilant, Lip + Fricative, Guttural + Lip coarticulations,
Further coarticulations.
3.4 Multiple Tonguing and Tongue Tremolo.
3.5 Fluttertonguing.
Dental and Uvular fluttertonguing.
3.6 Flutterlip and Buzzed-lip**.
3.7 Tongue Clicks, Slaptongues (inhaled** and exhaled*), Lip
Smacks (Kissing sounds) and Tonguerams**.
3.8 Sputato (derived from various Consonantal articulations).
3.9 Diaphragmatic Thrust (derived from Aspirant articulation).
3.10 Cheekslap ** .

4. Vibrato.

4.1 Breath-generated vibrati.

Non-vibrato, Diaphragm vibrato, Throat vibrato and Throat
tremolo (Chevroter).

146
 4.2 Fingering-generated vibrati and Vibrati dependent upon
fingering considerations.
Fingervibrato, Timbral vibrato (Klangfarbenvibrato),
Undertone vibr ato, Bell vibrato*, Pivot vibrato*, Rolling
Vlb rato ** , Window vibrato, Squeeze vibrato **, Reedy
Vlb rato ** .
4.3 Articulation-generated vibrati.
Tongue vibrato, Jaw and Lip vibrato, Cheek vibrato**.

5. Breath Sonorities.

5.1 Air-noises in general: breath sonorities generated at

various locations on the Recorder.
Quasi-speech effects*, Breath sonority vibrati*, Timbral
possibilities, Air-noises arising from Window
manipulations, Inhaled and Exhaled br eath sonorities.
5.2 Sustained Fricative and Sibilant sounds.
5.3 Wi nd-Rush or "white noise" effect (WR).

6. Percussion Sonorities.

6.1 Fingerslapping; Keyslaps and Keyrattles.

6.2 Percussion sonorities on the Bell of the Recorder.
6.3 Percussion sonorities on the body of the Recorder.
6.4 Miscellaneous percussion possibilities.
Plastic and Metal lnstruments ** ,Wlndowslaps ** ,etc.
o 0

7. Further Resources.

7.1 Other Vocal possibilities.

Including further resources involving whistling, etc.
7.2 Pr epared Recorder.
Muted Recorder, Various preparations, Covering
the fingerholes with cloth**, Sonic generators from other
instruments ** E xtenslons
to t h e lnstrument
** ,
Detuning/scordatura, Plastic and Metal Recorders ** , etc.
7.3 Aleatoric Techniques.
Uncoordinated techniques, Random finger movement, Random
articulation effects, Unstable fingerings, Temporal
structures determined by breathing considerations, etc.

147
 7.4 Further means of Extending the possibilities.
7.4.1 Interface of the Recorder with Electronic and Computer
.
tec h no1 ogles .
7.4.2 Acoustic consi derations, Spatial manipulations
(varying the direction of the sound, Doppler shifts,
etc.)
7.4.3 Replicas of historical instruments, Instruments with
different constructional features, Plastic and Metal
Recorders .
7.4.4 Utilization of other types of musical instruments;
Utilization of other implements.
7.4.5 Visual or Theatrical effects.
7.4.6 A study of potential application s from other musical
traditions.

B. Techniques concerning the Separate Sections of the Recorder.

Almost all of the possibilities outlined in A above are applicable here

and may be categorized accordingly, in addition to the many technical
resources unique to the various sections of the recorder:
1. Possibilities with the Hea djoint alone.
2. Possibilities with the Foot joint alone.
3. Possibilities with the Headjoint and Middlejoint together.
4. Possibilities with the Middlejoint and Foot joint together and the
Middlejoint alone.
e. g. "Cornetto" sonorities (blowing with a Trumpet embouchure
into the Bore at the Upper Tenon), Vacuum and Popping
effects , etc.

148
 Errata

1. p.37. Ignore the first paragraph.

2. p.41. Ex. 1-19. Arnarilli

 Addenda

pp.46-7. Ex.I-30 omitted by mistake (Section 1.1.3 Aspirant Articulation):

Ex.I - 30. Nicolaus A. Huber: Epigenesis I. p . I3. (3 Recorders)

.--1 .....

.-1 .....

"'t icil

Articulation: 'hu', 'hud', 'hut' [dental releases ] ; 'hidl' [ doubletonguing

with reflex articulation].