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GLOSSARY
This may help clear up sources of confusion!
The site has a collection of sound files, click here.
Alternative Fingering
A second (or third or fourth... ) choice fingering for a note. Generally they are in many ways un-satisfactory from the point of view of tone but may have advantages in rapid passage work or where intonation is a problem. Although there are lists, it is best to be inventive and find your own. They tend to be instrument specific. You also gain a greater understanding of the way the recorder works by exploring them. When you find one, or a set that solves a problem, there is no shame in penciling them into the margin! There is nothing to be gained by developing a huge repertoire for the sake of it. The standard fingering should be your automatic choice, otherwise you will suffer from "options paralysis". If you cannot play a passage (after diligent practice) with the usual fingerings, work out an alternative set for the tricky section.

Alto
An "F" recorder, written in the treble clef, sounding at the written pitch. The international word for treble recorder.

Baroque Recorder
The style of recorder which is most common today. Even when made of plastic.

Baroque Fingering
The pattern of fingering, also known as English, which is used by all serious players, and is normal in this country (UK) and most of the world.
(See also German fingering.)

Baroque Pitch
This is generally taken to mean A=415 Hz as opposed to the normal modern pitch of A=440 Hz. Instruments made to this pitch play one semitone lower than modern ones. There are real benefits.

The lower pitch demands a bigger instrument. Because of this the balance of tone is different and the sound tends to have more 'body'. I never let a prospective purchaser anywhere near a baroque pitch instrument, if they want a standard one, until they have made their decision!

From time to time I get enquiries regarding recorders that play flat and have been identified by their owners as being at A=415. So far, this has never actually been the case. Recorders at this pitch are rare and unless you are a very expert player you are never likely to meet one 'in the flesh'. You will hear them in authentic recordings and see them listed in catalogues. They are not made in industrial quantities or (as a result) at low price. 2020 update! Plastic altos at A=415 are now being made by Zen-On. (They are not cheap, but very much less costly than an individually hand crafted instrument.)

'Flat' recorders may be old and have changed pitch with age, they may not be played with the breath pressure intended, or they may be being compared to a sharp instrument. Age and use related pitch changes never amount to as much as a semitone. Many common low priced recorders are built very sharp, this helps keep the loudness down. There are many old instruments (mostly flutes, especially conical flutes) about that are built to the old 'high pitch' that was abandoned in the 1930's, in the UK, and many free reed instruments (ie. concertinas and accordions) are rather sharp. Other high pitched instruments may be small pipe organs and 'church hall' pianos, though they become increasingly rare with time.

Base
A common mis-spelling of the homophone, 'bass'.

Bass
An "F" recorder usually written in the bass clef, sounding one octave higher.

There are several styles. I have produced a page of details. Eye Icon, click for picture.

Otherwise, a low or the lowest part, of a musical composition or performance.

Beak
The top end of the recorder, which is applied to the lips, not put into the mouth! Eye Icon, click for picture.

Bell Key
A C20 additional articulated key that closes the lower end of a recorder. It is only ever, and rarely, found on treble (alto) recorders. When used in conjunction with the fingering for top F natural a good top F# is produced. Eye Icon, click for picture.

Block
The softwood (cedar) plug at the top end of the recorder. Eye Icon, click for picture.

Body
The middle part of a recorder or flute.

Bore
The interior of a wind instrument.

'Burble'
When a note on a recorder, usually a low note, A or G on the treble, does not produce a steady tone the effect is called a 'burble' in the UK. Technically, I believe you might call it 'mode hopping'. An electronics buff would call it 'squegging'. You can hear one by following this link.

Butterfly Key
A key for the lowest note of a large recorder that is made so that it accommodates both left and right handed players. Now that left handed playing is rare it is purely an ornamental feature in keeping with the overall design of an 'authentic' period instrument. Many modern designs spoil the utility completely by off setting hole VI ! In the tenor illustrated Hopf have done the job properly, though the mechanism under the fontanelle covering it is of modern design. Eye Icon, click for picture.

Buttress
As in "buttress finger". For very many notes which use a few of the left hand fingers only, it is possible to add the ring finger of the right hand without detriment to the tone or intonation. In doing so the hold on the recorder is greatly improved. This technique, known as "buttress finger technique" was common in the C18, but largely disregarded except by advanced players, today. It is a valuable tool, to be used alongside alternative fingerings to facilitate rapid passage work. Many players, particularly those familiar with the Boehm flute, where the right hand little finger key is depressed for most notes, will drop their right hand little finger onto the wood between the two lowest holes for support without conscious thought. Take great care if you do this! The little finger hole has a great and unpredictable affect on other notes. On the sopranino it is a very dangerous practice because there is so little room. (It is interesting to note that Boehm reversed the action of the G# key on his new design of flute, but retained the old D# action because of the support it gave. The new G# never caught on and is hardly ever seen today.)

Concert Pitch
This is the pitch of regular musical performance. It is dictated by the tuning of pianos and all other 'mechanical' instruments. Nowadays it is supposed to be set at A=440 Hz.

There is always upward pressure on the pitch standard and many recorder makers use A=442 Hz for their pitch standard. It is much less problematic to be have a sharp recorder than a flat one as lowering pitch is easily achieved by pulling out.

The note A in the treble stave has a vibration frequency of 440 times a second. The Hz unit for 'cycles per second' is a relatively recent accolade for Heinrich Hertz who did pioneering research into electromagnetic oscillations.

Most musicians will just say'A 440', or 'A 415' when specifying the pitch. It is only an issue with 'early' or 'authentic' instruments. Symphony orchestras and the like always perform at 'concert pitch', nominally A=440 Hz'.

A hundred years ago, the situation was very different. The fixers for ad hoc groups of instrumentalists specified the pitch and the players had to have two instruments to cope with the old 'high pitch' and the incoming 'New Philharmonic Pitch' of A=439Hz. My old (Boehm) flutes were made to this and, as the pitch edged ever upwards towards the A=444Hz that was becoming popular a new flute made life easier. Today Europe is perceived as being a 'sharp' market for woodwind and flutes made for the USA are a little longer. If you have wondered why you have to pull out the head of your Yamaha flute this could be the answer!

Electronic tuning meters should have put a stop to the creep sharper but they haven't. In fact, the advanced onces can be pushed up or down to suit local tastes. Goodness knows why.

Contra Bass
A confusing term, check which key is meant. A low instrument.

Cracked
Equivalent to "pinched" qv.

Descant
A "C" recorder, written in the treble clef, sounding one octave higher.
The English UK word for it (otherwise, 'soprano').

Direct Blow
A style of head adopted for large recorders that might be expected to be blown through a pipe. Usually its a feature of bass recorders but it is sometimes found renaissance style tenors. Eye Icon, click for picture. The lips are applied directly to the instrument. If the recorder has a 'knicked' head it is made with the usual 'beak'. If it is straight, it is blown through a slot (usually the windway entry). The head of a tenor, or bass without a cap, has to be turned so that the window is towards the player's chest. This has very little effect on the sound projection. Many basses with a cap for a pipe can be played this way with the cap removed. (It depends on whether the windway is plain or has been opened out under the cap.) Some wooden basses were available with direct blow caps as well as with caps fitted with pipes. Eye Icon - Link to Picture

Double holes
These enable you to play the low C# and D# with more security. Two adjacent small holes are provided for the lowest two fingers. It is a feature which came into recorders relatively late, having been invented for G/G# on the oboe, (hole III) where it has not survived.

Most players in the UK expect double holes for historical reasons. The revival production of recorders in this country was almost always of the double hole variety. In Germany there has always been a following for single holes, particularly for the low cost educational market.

Until roughly 1980 it was usual for big recorders to have a single key to cover what would normally be a double hole on sopraninos, descants and trebles. As a result the lowest semi-tone note could not be played. More recently 'double keys' of various styles have been fitted to overcome this deficiency. They are now more or less standard issue. There is more on this topic here.

Some makers believe that double holes are a contributory factor for burbles on low G and A (on the treble).

English Fingering
The usual way of fingering a recorder. (Also known as Baroque.)
See also German fingering.

Figures or Figuring
A system of indicating the harmony in baroque continuo parts. Small digits are placed below the bass notes. They indicate the intervals to the other notes in the chord. Experienced keyboard players recognize the chord progressions from the numbers and fill in the parts as they go. The skill is now known as 'keyboard harmony". Modern editions are 'realized' by the editor, who provides his own suggestion, generally leaving the figures in so that the player may see the composer's intentions.

Fipple
Either the block or the labium !

Flauto
Usually taken to mean treble recorder.

Flauti d'echo
I have found three reference book entries concerning this pair of mystery instruments. They all point to a single source, the instrumentation of Brandenburg Concerto No.4 by J. S. Bach The consensus now is that the alto recorder in F is intended, earlier interpretation favoured the alto in G. When it was proved that the work could be effectively played on the F instrument the G interpretation was abandoned. Thurston Dart had the idea that a flageolet might be a good candidate, sounding an octave higher than the alto recorder. Performances (and perhaps a recording too) were made using sopranino recorders (in F) in the 1960's. I have played Brandenburg 4 (the first movement) this way in schools concerts, and it does work rather well. Certainly, there is no balance problem with modern strings!

Flautino
Usually taken to mean sopranino recorder.

Fontanelle
A perforated wooden cover for the foot key of an early model recorder. Its purpose is to provide protection for the valuable metal work behind it, without affecting the sound. The pattern of holes is repeated round the barrel shaped cover. Nowadays metalwork is inexpensive and the highly ornamental wooden fontanelle adds a huge premium to the cost of the recorder. If you have ever tried to make anything like it, even on a flat surface, you will understand why. (New image.) Eye Icon, click for picture.

Foot
The bottom part of a recorder or flute.

Fork
As in "forked fingering" or "forked note". When a note is fingered so that there is an open hole with closed holes below, and the note is not a harmonic, it is described as "forked". On the treble, the Bb's are "forked" but, although the fingering has similar features, while low Eb is "forked", high Eb is not (according to my way of thinking!). You need to play them to appreciate the different tone qualities (mode of vibration) associated with the fingerings.

Garklein Flötlein
A "C" recorder written in the treble clef, sounding two octaves higher. The fingering, though very like that of a standard "C" recorder is not the same. You should consult the chart provided by the maker or experiment. Eye Icon - Link to more information.

German Fingering
A modern system in which four fingers down gives F on a descant. Still used, principally in Germany and Holland, often coupled with single holes. Avoid it like the plague. If you are playing the eBay market do not fall into the trap of buying any recorder with this fingering, you will regret it. Only 'baroque' or 'English' will do. Click this link for a pdf format fingering chart. (35KB)

You can recognize a German fingered recorder by the looking at the 4th. and 5th. holes down the front of the recorder. On the 'German' model it is the 5th. hole that is small. Eye Icon, click for picture.

'German fingering', is the commonly used term for the fingering system devised by Peter Harlan. The 'other side of the coin' is 'English fingering' which is a variant of 'historic baroque fingering' and used by Arnold Dolmetsch. (Search these names to find more about the modern resurrection of the recorder.)

I have made some suggestions for using the double key at hole IV on some old German made basses here.

Great Bass
A "C" recorder written in the bass clef but sounding an octave higher.

Head
The top part of a recorder or flute.

Historic Baroque Fingering
A variant of the usual fingering.

The most significant difference is (on the alto) the fingering for Bb. The little finger (pinky) is not used in the lower octave but used instead of the ring finger in the upper octave. It is usually associated with single holes for E and F and A=415 instruments.

It was in fashion in the 1980's but has fallen out of favour. This is something of a pity, I think, because it made the trills involving A less wayward of intonation.

Key
The device used to cover a hole which is out of the reach of a finger. The finger controls the "touch piece" which is linked by a "rod" or "sleeve" running over an "axle" or "steel" (USA) to the "cup" which holds the airtight "pad" which stops the tone hole.

Knick
German for bend, some basses and tenors are angled below the head. Now a popular feature, particularly for models aimed at school use. Knick recorders also find favour with those of advanced years. Eye Icon - Link to Picture

Labium
The cutting edge part of the sound generator.

Mute
A device for reducing the loudness of a musical instrument. Some are also specially designed to alter the tone. A recorder mute devised by Carl Dolmetsch is described in the now out of print 'School Recorder Book 3'. Click here to go my notes on loudness and a link to view the page. There are over complicated and ugly commercial versions that work on the same principle.

'N'
This abbreviation is often used to denote the sopranino recorder.

Pinched
A not very helpful term for the partial opening of the thumb hole for high notes. It is in common usage in the UK. I have found 'cracked' used instead. I think this is preferable.

Renaissance Recorders
These are based on early originals, usually fingered as modern instruments, but models with authentic fingering are available from some makers. The bore is much wider than that of a baroque instrument and tapers less. The compass is usually a twelfth. Double holes are never present.

Single Holes
The first recorders were made this way, with one hole for each finger. Eye Icon, click for picture.
(See also, "Double Holes".)

Sixth Flute
A small recorder, notated as a treble (alto) in old editions but sounding a sixth higher. It is thus a transposing instrument (qv). (The descant is by way of comparison, a fifth flute, but it is nowadays notated at concert pitch.) Modern editions of works for the sixth flute produced for the descant (soprano) recorder tend to keep the original recorder fingering so the keyboard reduction (and performance pitch) may not be in the same key as the original.

Soprano
A "C" recorder written in the treble clef, sounding one octave higher.
The international word for descant recorder.

Sopranino
An "F" recorder written in the treble clef, sounding one octave higher.
('N' in my music lists.)

Sub-Bass also "Sub-Contra-Bass"
An "F" recorder written in the bass clef, sounding at the written pitch.

Tenor
A "C" recorder written in the treble clef, sounding at the written pitch.

Transposing Instrument
An instrument which produces notes whose pitches are not the same as those notated.
Click here for a (long) explanation.

Traverso
The Baroque flute, or, transverse flute.

Treble (Recorder)
An "F" recorder written in the treble clef, sounding at the written pitch. The UK English word for it, otherwise 'alto'.

Voice Flute
A tenor sized recorder whose lowest note is D. It is often used (as a transposing instrument) to play music composed for the baroque flute.

Windway
The narrow slot through which the air passes.
 
GERMAN WORDS
FOR
RECORDER PLAYERS

In German, nouns start with a capital (upper case) letter.
My thanks go to Brian Edwards and Jim Gowers for this list.

spacer German words 
 
 English words
ab
 
from
aber
 
but
Achtel
 
(eighth) quaver
Akkord, Akkordklang
 
chord
akzentuiert
 
accented
allmählich
 
gradually
Altblockflöte
 
alto/treble recorder
Anfang
 
beginning
Anzahl
 
number
Anspielung
 
reference, allusion
Atem
 
breath
atmen
 
breathe
Atmung
 
breathing
aufhaltend
 
holding back
Ausdruck, ausdrucksvoll
 
expression, with expression
äusserst, äußerst
 
extremely
Ausziechnung
 
decoration
B
 
B flat
Baß
 
bass
Beginn (wie zu Beginn)
 
beginning (as the beginning,  come prima)
Begleitfiguren
 
accompanying figures
beliebig
 
as you wish
belebt
 
animated
belebter
 
more animated
breit, breiter
 
broad, broader
beschleunigt
 
speeding up
Beschleunigung
 
acceleration
beschwingt
 
cheery, in high spirits
betont
 
emphatic, marcato
bewegt
 
with movement, animated
bewegter
 
faster
bis
 
to
Blockflöte
 
recorder
Cembalo
 
harpsichord
Chor
 
choir, chorus
deutlich
 
clear, distinct
Doppelzunge
 
double tonguing
drängend
 
pressing
dur
 
major (key)
durch
 
through
ein
 
a, one
einfach
 
simple, single
Einfachzunge
 
single tonguing
einleiten
 
start
Einleitung
 
introduction
Ende
 
end
energisch
 
energetic
es
 
flat (♭)
etwas
 
a bit, somewhat
Fluss, Fluß
 
the flow
Flzg. = Flatterzunge
 
flutter tonguing
frei
 
free, freely
freundlich
 
friendly
frisch
 
fresh
fröhlich
 
cheerful, joyful
für
 
for
Gang, in breiten Gang
 
in a broad fashion
ganz; ganz zurück
 
whole, quite, go or keep back
gebunden
 
tied
gegen
 
against
gehen
 
go
gemütlich
 
comfortable
genau
 
exactly
gesanglich
 
songlike, cantabile
geschwind
 
quick
gestossen, gestoßen
 
pushed
gestrafft
 
tightened
getragen
 
measured, stately tempo
getrennt
 
detached
Griffloch
 
fingerhole, fingering
H
 
B natural (B♮)
Halbe
 
(half) minim
heiter
 
cheerful
hervor
 
brought out, standing out
Hilfsgriffe
 
alternative fingering
im, in
 
in the, in
immer
 
always
im Zeitmaß
 
in tempo
is
 
sharp (♯)
Kammermusik
 
chamber music
kein
 
no, not a
Klang
 
sound
Klavier
 
a piano
klein
 
small
knapp
 
tight, precise
langsam, langsamer
 
slow, slower
lebhaft
 
lively
leicht
 
light, easy
locker
 
lightly
Leidenschaft(lich)
 
passion(ately)
lustig
 
cheerful, merry
Märchen
 
fairy tale
mässig, mäßig
 
at moderate speed
mit
 
with
moll
 
minor (key)
munter
 
lively
natur
 
natural (♮)
nicht
 
no, not
noch
 
still, more, yet again
oder
 
or
ohne
 
without
Partita
 
suite (from the Italian)
Partitur
 
musical score
plötzlich
 
suddenly
punktiert
 
dotted note/rhythm
Querflöte
 
transverse flute
Reihe
 
row, series
ruhig
 
calm, peaceful
ruhiger
 
more tranquil
Satz
 
movement, section
Schallplatte
 
(gramophone) record
scharf
 
sharp, sharply
schleppen
 
dragging
Schluss, Schluß
 
end
schnell, schneller
 
quick, quicker
schreitend
 
striding
schwebend
 
floating, soaring
schwungvoll
 
jazzy
Sechzehntel
 
(sixteenth) semiquaver
sehr
 
very
Sopranblockflöte
 
soprano/descant recorder
stark, stärker
 
strong, stronger
ständig
 
constant, continuous
Steigernd
 
rising
Stimmen
 
voices, parts
straff
 
tight, strict
Stück
 
piece
Spieler
 
player
Synkope
 
syncopation
Takt
 
bar, beat
Tanz, tänzerlich
 
dance, dancelike
Ton
 
musical note
Tonart
 
key
Tonleiter
 
scale
Triole
 
triplet
trocken
 
dry
Übung
 
exercise, practice
unbegleitet
 
unaccompanied
und
 
and
v.A.b.E. = von Anfang bis Ende
 
from beginning to end,  da capo al fine
verlangsamen
 
slow down
Verzierungen
 
ornaments
verzögern
 
delay
Viertel
 
(quarter) crochet
voran
 
before, ahead
vorwärts
 
forwards
Vorzeichen
 
accidental
werden
 
become
wie
 
as, like
wieder
 
again, more
zart
 
delicate, tender
im Zeitmaß
 
in time
zierlich
 
dainty
zögernd
 
rallentando
zu, zum, zur
 
to, to the
zurück
 
back
A, H, C, D, E, F, G
 
A♮, B♮, C♮, D♮, E♮, F♮, G♮ (naturals)
Ais, His, Cis, Dis, Eis, Fis, Gis
 
A♯, B♯, C♯, D♯, E♯, F♯, G♯ (sharps)
As, B, Ces, Des, Es, Fes, Ges
 
A♭, B♭, C♭, D♭, E♭, F♭, G♭ (flats)
  Notes on Recorders & Pitches

The standard recorder sizes are not usually played as transposing instruments. This is why I do not refer to them as being 'in' a key, but name the lowest note. The rare unusual sizes are have names like 'alto in G'. These are transposing instruments and the written music reflects this (as is the case for trumpets and clarinets, for example). Early terminology used names that related to the interval difference from the treble recorder. The C18 name for our descant was 'fifth flute'. The overall sizes I quote are approximate and vary between models and makers. (The bore shape and diameter as well as its length defines the pitch, and windway lengths, which do not affect the pitch, vary.)

Garklein Flötlein (17cm. 6.75in.) Lowest note C written as middle C but sounding two octaves higher. Best at a distance, with lower recorders, and in small doses. There are unexpected and illogical differences in fingering from descant recorder. If you buy one, be sure to study the chart provided by the maker. Eye Icon - Link to more information.

Sopranino (24cm. 9.5in.) Lowest note F written as F above middle C but sounding one octave higher. A sopranino can play many descant parts, with a lighter sound, and easier technique. It is an inexpensive way of learning the treble fingering scheme, particularly for young players.

Descant (Soprano) (32.5cm. 12.5in.) Lowest note C written as middle C but sounding one octave higher. The sound can be rather hard. Sopraninos are usually prettier.

Treble (Alto) (47cm. 18.5in.) Lowest note F above middle C sounding at the written pitch. Many second descant parts can be played on the treble, transposing an octave up. This can be easier and produces a richer sound.

Tenor (64cm. 25.5in.) Lowest note middle C sounding at the written pitch. Treble parts can provide an interesting challenge for players who feel they are under stretched in a group.

Bass (96cm. 38in.) Lowest note F written just below the bass staff, but sounding one octave higher. Solo music for the treble is a good source of recreational music, and much may be performed. The sound is an octave down. Do not neglect to play from the treble clef at the true pitch as well, tenor parts provide not too difficult a challenge. There are several styles of bass recorder. I have produced a page of details Eye Icon - Link to more information..

It is common for descant and sopranino music to have a small 8 added to the top of the treble (G) clef to indicate the octave transposition upwards. Similarly the bass (F) clef often has an 8 added.

Great Bass (Contra -Bass) Lowest note C (128cm. 51in.) sounding an octave below middle C.

Sub-Bass (Sub-Contra-Bass) (192cm. 76in.) Lowest note F sounding a twelfth below middle C.

Music dedicated to the very big recorders is rare, so here are some pointers for using them to play other material.

A Great Bass is usually able to play all the notes in a Bass part. Some extra high note fingerings may need to be learnt. but usually work well. A Great Bass may be an advantage on a Bass part because it is able to descend a fourth lower. Places where the music goes up when you feel it ought to go down can usually be re-interpreted at sight.

Consort music can be played an octave down when a Great Bass and a Sub-Bass are available. The Descant and Treble lines are played on the Tenor and Bass. The Bass being played as a Treble, reading the treble clef, and producing notes an octave lower. The Tenor and Bass lines are played on the Great Bass and Sub-Bass. The result is that instead of the highest part sounding an octave up, it is played at written pitch, and the other parts are sounded an octave down. The result can be very pleasing (and more acceptable to close neighbours).

There are cunning plans for coping with unusual parts but I feel that it is best to be aware of the real notes by learning the clefs and the notes on each instrument. This way all manner of music may be approached. One needs to be conversant with the C scheme and F scheme of fingering and the two common clefs, G treble and F bass. Everything can be give or take an octave, or two. Do not be tempted to produce personal transposed versions, for example, treble fingered as descant. Such strategies will limit your repertoire and enjoyment. Solve problems by learning where the key note of the piece is, both on the page, and on your instrument, and learn some scales. Your inner ear will guide you once you get started.

 


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