Advanced Recorder Tecnique Vol 1

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<p>Heyens / Bowman Advanced Recorder Technique The Art of Playing the Recorder Volume 1 Finger and Tongue Technique SCHOTT ED 9761</p><p>Recorder Gudrun Heyens Advanced Recorder Technique The Art of Playing the Recorder Volume 1: Finger and Tongue Technique Translation: Peter Bowman ED 9761 Volume 2: Breathing and Sound ED 9762 www.schott-music.com SCHOTT Mainz London - Madrid New York Paris Prag Tokyo Toronto 2005 SCHOTT MUSIK INTERNATIONAL GmbH & Co. Mainz Printed in Germany</p><p>Contents Foreword 3 7. Virtuoso Technique in all Keys 41 1. Finger Movements 4 About practising 41 Exercises in all keys 42 2. Articulation 6 3. Scales/Arpeggios/Chromatic Scales 8. Broken Chords 56 7 Patterns 58 Notes regarding the exercises 7 Repertoire examples (Vivaldi) 60 F maj/D min; B flat maj/G min; 9 E flat maj/C min; A flat maj/F min; 9. Trills 64 G flat maj/E flat min; C maj/A min; G maj/E min; D maj/B min; Trill patterns 64 A maj/F sharp min; E maj/C sharp min; Repertoire examples 66 B maj/G sharp min; F sharp maj/D sharp min. 10. Finger Vibrato (flattement) 69 Mixing the scales 23 Fingering charts 70 Exercises 74 4. Scales and Arpeggios in 24 Repertoire examples (Philidor) 76 chromatic sequence 11. Double Tonguing with "did'll" 78 5. Scales in Thirds 28 Repertoire examples (van Eyck) 79 6. Smooth Double Tonguing 36 Fingering Chart 81 Exercises 36 Repertoire example (van Eyck) 38 Order Number: ED 9761 Cover: Nathaniel Hone (1718-1784) "The Piping Boy" (1769) BSS 51565 2</p><p>Foreword The "Art of Technique" and the "Technique of Art" "Advanced Recorder Technique" is intended for ad- Regarding the recorder, and assuming a "normal" vanced alto recorder players who are seeking rigor- physical constitution, we can say that with knowledge ous practise material for developing their instrumen- and training the necessary manual skills can be devel- tal and musical skills. It is a continuation of the two oped to a certain level; the "Art of Technique" here volumes of Fun and Games with the Alto Recorder means "craftsmanship". (Schott Ed. 12703-12707). The elements of recorder Recorder playing technique can be divided into technique covered in those volumes will continue to four categories: finger and tonguing techniques as well be developed here with particular emphasis on musi- as breathing and sound production techniques. cal recorder playing. Modern playing techniques are This volume deals with the first pair and therefore not included; the focus is on learning techniques suit- makes specific demands on the student. These reveal able for early- and high-baroque recorder music, bear- themselves not in the difficulty of the exercises them- ing in mind that these, and above all the "technique selves but rather in the task of dealing with the tech- of practising", are also relevant for the realisation of niques imaginatively - not simply "practising" in order modern recorder music. to complete the daily routine but from the beginning The exercises included here correspond to the using the material as a medium for expressive, musi- requirements of the recorder's original literature and cal playing. For the player this assumes not only tal- are intended mainly for the alto recorder. However, ent and commitment to practise but, for the musician, numerous recent editions of early baroque violin some further essential skills - self awareness, imagin- music arranged for soprano recorder, now an estab- ation and self criticism - which should be present lished part of the repertoire, have necessitated the seri- through all the exercises. ous treatment of this instrument too. A number of the The present work does not submit as a primary exercises can therefore be played not only on the alto objective to the "faster - louder - higher" school of but transposed for the soprano recorder as well. playing but rather searches for the musical intent of In addition to inspiration, imagination and emo- each individual element. We hope with "Advanced tion, all forms of artistic expression depend upon over- Recorder Technique" that within the purely technical coming certain technical problems without which the material the player will be able to discover and trans- translation of an idea into a visible or audible work form the musical parameters: sound; movement; ten- of art would be impossible. To what extent the tech- sion/relaxation; stress; intent, and from that learn to niques of the various art forms - physical control in deal musically with the individual technical elements dancing; brushwork in painting; voice production in (scales, arpeggios, trills etc.). Serious and continuous singing; articulation and body language in acting, in work developing creative technical skills as an essen- other words the craftsmanship, can be called "art", tial part of the daily practise routine will, alongside may be judged in different ways. In each case these regular music making, take about a year. All the exer- intellectual and physical skills must receive special cises should then be part of the recorder player's prac- attention from the artist. Investing time and energy tise repertoire which can be memorised and recalled developing them to their limits is clearly worthwhile at any time. with regard to an end result which should be a posi- tive musical experience for both artist and audience. Gudrun Heyens Glossary of Terms American English British English Thirtysecond note Demisemiquaver Sixteenth note Semiquaver Eighth note Quaver Quarter note Crotchet Half note Minim Whole note Semibreve Soprano recorder Descant recorder Alto recorder Treble recorder 3</p><p>1 Finger Movements Trilling Exercise T S S T T S T (etc.) be be be T = Whole tone S = Semitone 2005 Schott Musik Mainz *) Fingers should lie very lightly on the recorder when trilling in the low register that the finger which is mak- ing the trill can glide easily back and forth over the hole. This movement is controlled via a small movement of the wrist. **) Trills which do not speak when slurred may be practised using the tongue. 4</p><p>Finger Movements 1 Trilling Trilling aids the warming-up process in general and ter. Progress from there to the more complex fin- the warming-up of your fingers in particular. However, ger combinations. Make a note of any particular the priority here is the analysis of individual finger problems and begin your next day's practice with movements between notes. The purpose of the exer- these. cise is not to play through the sequence of trills from Breathe in slowly and deeply. Begin the trilling start to finish but rather to select individual bars. movement slowly, only gradually becoming faster. Do not use alternative fingerings as is common for Where the tempo is fast ensure smooth and even the performance of trills (see the Fingering Chart) but finger movements. If the movement becomes irreg- focus carefully on training the precise co-ordination ular begin again with a slower tempo. of several simultaneous finger movements. Play from memory and in front of a mirror that Begin neither with the very lowest nor the highest you can observe your hand position and "get a register; it is easier to start with the middle regis- feel" for your fingers. Space for notes and your own exercises Tip: for all exercises in which notes occur that can be your foot on to the tips of your toes SO that the bell- played by covering the end-hole of the foot joint (F end of the recorder can be covered by your upper leg. E): This allows minimal and controlled movement of your Find a good sitting position which does not restrict upper body enabling the notes to be played without your breathing but which allows you to bring your endangering your teeth. instrument close to your knee or upper thigh. Raise 5</p><p>2 Articulation Finger- and tongue-techniques are inextricably linked be kept constant with abdominal tension that the to one another. Training virtuosic finger work requires tongue strokes produce an apparently unbroken real awareness of tongue movement because for each stream of staccato notes. note in a series (e.g. a scale) there must be a tongue stroke, with one exception: legato playing. Non-legato For this reason the following remarks concerning articulation have been deliberately given precedence All of the above also applies to non-legato playing. over chapter 3, "Scales, Arpeggios, Chromatic Scales", Notes can begin either with a hard or soft tongue which focuses on finger technique. Detailed instruc- stroke and end before the start of the following note. tions regarding tonguing for use with the scale exer- This should be clear enough, however there are sev- cises can be found in that chapter. eral possibilities for the realisation of non-legato: 1. The note finishes with a clearly audible tongue stroke: doot doot Articulation (the way in which syllables and words are spoken) gives our speech colour and expression and 2. without finishing with the tongue: doo doo makes it more or less "interesting". A speaker with clear and distinct pronunciation, who varies the rise The length of the silence between the notes is variable. and fall of his voice, will be listened to much more Take care with the finishing tongue stroke: use only attentively than one who expresses himself monoto- the tip of the tongue. As an exercise try to say the fol- nously, without varying either pitch or volume or who lowing: ye-ttttt. Note that the sides of the tongue lie mumbles indistinctly. Exactly the same is true for against the back teeth, as when you say "yes". For the recorder playing: knowledge of musical figures and ttttt the body of the tongue remains in the "yes" posi- their distinct and lyrical presentation through the use tion - only the tip of the tongue moves. of articulation, dynamic, agogic stress and movement Portato make the playing colourful, informative, appealing and moving (i.e. emotional). Moving only the tip of the tongue is also very import- In order for articulation to be able to differentiate ant for portato playing. In order to be able to realise clearly between the content of the musical figures a the extreme smoothness of this articulation, which is sophisticated tonguing technique is required that has very similar to true legato, the exercises e.g. the scales, control over a range of articulations from hard to soft should first be played legato (slurred). In the process and short to long. of this concentrate on "feeling" the function of your breath: it creates the notes. If it is too weak a break Legato in the sound is unavoidable because the tongue True legato is the easiest kind of articulation to define: stroke, which normally provides the impulse for the all joined notes (those occurring under a single slur) note, is missing. The flow of breath must be able to are formed without the help of the tongue. The indi- be varied: stronger, weaker, faster or slower depend- vidual notes sound when the fingering changes whilst ing on pitch and register. The tip of the tongue sets lit- tle markers in an unbroken stream of breath. the breath continues in an unbroken stream. Air Staccato Tongue Staccato is an articulation which shortens individual notes. The extent of the shortening depends on the Initially it may be difficult to feel the two "tracks" of character of the music. Staccato notes can be played this action. It might be helpful to transform the "doo" with either soft or hard tonguing. They can also be fin- articulation syllable into the gentler "loo" tonguing or ished either with a tongue stroke, which has the effect even to create a mixture of the two. of making them sound tense and exact, or without Rule: Legato serves as a basic sound model and blow- using the tongue, which makes them sound light and ing exercise for portato articulation. airy. The range of possible articulations is enormous. A light, "leggiero" staccato which is "relaxed" can be Legato = joined, slurred obtained by finishing notes with a fast movement of Non-legato = not joined, separate the tip of the tongue. Breath control also plays a role Staccato = short, often with a hard attack here as each note can be formed with an extra small Portato = notes are "carried" from one to the impulse of the diaphragm. The air pressure can also other (portare = to carry) 6</p><p>Scales, Arpeggios, Chromatic Scales 3 Notes Regarding the Exercises played in its entirety without a break. Do not over- react if you make a mistake or if you have to stop. Major Scales Becoming irritable if something goes wrong does In order to have as much practise material as poss- not help. Instead, remain calm and try to play the ible begin all major scales with the lowest note of the next scale correctly. The amount of breath you scale available on the instrument. This will not nec- need will depend upon your opening tempo. If essarily be the tonic note. Play each scale up in necessary, place in breath marks and try to get to octaves and, again in octaves, back down. In this way the end of the passage by breathing only at the it is possible for fingers and tongue to work for longer places marked. with each scale, despite the limited range of the Establish your starting tempo with a metronome recorder. and make a note of it. In this way you will be able to check your progress more easily. Major Arpeggios Do not forget to think and do not play faster than you can think! For example: as you reach the high- Only the tonic arpeggio of each scale will be prac- est note in an octave run of a major scale, inward- tised. Again, begin with the lowest available note of ly tell yourself the first note of the next passage the arpeggio even though this may produce an inver- before actually playing it. In other words, do not sion. Go back to the second note of the arpeggio and just play by ear! begin again, working up to the highest note available. Nevertheless, always listen to your sound. Describe it, consider it. Your ear should not sim- Chromatic Scale ply be satisfied with the correct pitch, you must Chromatic scales should be practised up and down also be aware of the sound quality. over the range of an octave. Begin with the tonic note of the scale. Tips for Fingerwork Minor Scales Fingers should always move quickly up and down, then immediately relax. The movement need not be The minor scales are practised in triplets and within great; when not active the fingers remain relaxed the range of an octave. They must be played through above their holes. three times before the tonic note again falls on a As a control: someone holds a ruler 3 cm strong beat. Use the same pattern for both harmonic inches) above your fingers whilst you play. The more and melodic minor scales. rhythmic and precise the finger movements, the neater and more accurate the co-ordination with your Minor Arpeggios tongue. The same principle as for major arpeggios applies. Tips for Tonguing Chromatic Scales Play a light, springy "ti ti ti". (short "i" as in "bit") The chromatic scale begins with the tonic note of the Concentrate only on the beginning of the note; do not minor scale. tongue the end of the note. The note remains open, not rigid and static as in staccato ("tit, tit, tit"). Practise Tips Reminder: the difference between a note which is fin- ished with a tongue-stroke and one which sounds Read and understand the principles of the open lies simply in the exact point in time at which major/minor (Fmaj/Dmin) "technique block" the upwards movement of the tongue takes place. If described above and then organise your practise this happens precisely at the end of the note it will session accordingly. Learn the patterns from mem- sound "cut off". However, if the tongue movement ory. Once internalised it can be transferred to all occurs at the last possible moment before the begin- keys. Advantage: your practise material is always ning of the next note - and it must be very fast - then available. Consider Fmaj/Dmin as a unit, particu- the note will not sound as though it has been finished larly with regard to your concentration span. Begin with the tongue. You could say that the tongue stroke with F major (including the chromatic scale) in a occurs not at the end of the first note but at the begin- slow tempo, ensuring a steady beat and playing ning of the second. Imitate with your tongue the without stopping to take a breath. Pause before sound a table tennis ball makes when dropped and beginning the minor scale which should also be left to bounce for several seconds. 7</p><p>3 Scales, Arpeggios, Chromatic Scales When you are satisfied with the co-ordination of tongue and fingers try to alter your articulation to a soft, broad portato. Ensure that you use a firm stream of breath which is well directed. Preliminary Exercise Play each of the octave runs in pure legato and ob- serve the movement of your breath. Try two extremes: 1. a strong crescendo to the highest note to 2. a decrescendo upwards to mf mf mf Does the highest note speak easily when played piano? Now play 3. with an even breath throughout to mf mf mf mf mf mf and observe that you do not necessarily need high Play the chromatic octaves in groups of four. This will breath pressure to play high notes on the recorder. help rhythmic orientation: Now with Articulation 1. Play with a broad portato and articulate the high Articulate the minor scale clearly in triplets (ta ti ti, ta notes softly, as though playing legato. ti ti) that you do not lose track of the beat. Listen 2. Play again, this time with short articulation and an carefully to ensure that the stress on the first note of increasingly harder tongue stroke as you get high- each triplet is gained by lengthening the note and not er. Which sounds better? by blowing harder (accenting). Articulate the arpeggio exercise in accordance with the triplet figures, first clearly (ta ti ti, ta ti ti), and then portato the second time through. 8</p><p>Scales, Arpeggios, Chromatic Scales 3 F major 9</p><p>3 Scales, Arpeggios, Chromatic Scales d minor 10</p><p>Scales, Arpeggios, Chromatic Scales 3 B-flat major minor 11</p><p>3 Scales, Arpeggios, Chromatic Scales E-flat major minor 12</p><p>Scales, Arpeggios, Chromatic Scales 3 A-flat major f minor 13</p><p>3 Scales, Arpeggios, Chromatic Scales D-flat major b-flat minor 14</p><p>Scales, Arpeggios, Chromatic Scales 3 G-flat major e-flat minor 15</p><p>3 Scales, Arpeggios, Chromatic Scales C major minor 16</p><p>Scales, Arpeggios, Chromatic Scales 3 major minor 17</p><p>3 Scales, Arpeggios, Chromatic Scales D major b minor 18</p><p>Scales, Arpeggios, Chromatic Scales 3 A major f-sharp minor 19</p><p>3 Scales, Arpeggios, Chromatic Scales c-sharp minor *) See Fingering Chart 20</p><p>Scales, Arpeggios, Chromatic Scales 3 B major 21</p><p>3 Scales, Arpeggios, Chromatic Scales F-sharp major d-sharp minor 22</p><p>Scales, Arpeggios, Chromatic Scales 3 Mixing the Scales This section deals with the repetition of all scales and If the scales become confused or you experience arpeggios in order to ensure that they are all well problems with your fingers then restrict yourself to one known and ready for recall at a moment's notice. pair of scales today and tomorrow choose another You should now begin to mix the technique blocks pair. so that, for example, today you play B flat major and Repeat the entire technique block regularly until A minor, tomorrow B major and C minor, the fol- all scales and arpeggios can be played in any order lowing day E flat major and B minor. fluently at the same tempo. Examples for Mixing the Scales B-flat major and a minor 3 3 3 23</p><p>4 Scales and Arpeggios in chromatic sequence Check that all scales are firmly established in your Establish at the start of your practise session exact- mind and fingers. ly what you want to achieve (e.g. rising scales) and Playing from memory, start at the beginning with do not waste time playing through lengthy passages a steady beat and aim to complete one block (e.g. which are difficult to absorb. Restrict yourself to scales up or down) in one breath. memorising short sections which can be repeated often and then used to begin the next day's practice before turning to the next section. Scales up/down Scales down/up 24</p><p>Scales and Arpeggios in chromatic sequence 4 Arpeggios up/down Arpeggios down/up 25</p><p>4 Scales and Arpeggios in chromatic sequence Rising scales Falling scales 26</p><p>Scales and Arpeggios in chromatic sequence 4 Arpeggios in fours up Arpeggios in fours down Rising arpeggios Falling arpeggios 27</p><p>5 Scales in Thirds The most important finger movements in recorder of impurities in the course of playing. Every player's playing can be split into three categories: falling; lift- fingers will move at different speeds: the ring finger, ing; alternating. The last is a combination of the first for example, is often slow and may appear to remain two. "stuck" to its hole. Whereas with few exceptions (e.g. from the fourth Practise the scales in thirds in short sections (bar to the fifth note in F major) only one finger lifts when by bar) but with the aim of eventually playing them playing major and minor scales, it is in the nature of fast. When seeking the cause of slips or impurities of scales in thirds that two fingers move together. The lift- finger work, reduce the number of notes (still playing ing movement uses more energy than the more nat- in thirds) but not the fast tempo. ural falling finger movement and this is often the cause F major 28</p><p>Scales in Thirds 5 B-flat major E-flat major 29</p><p>5 Scales in Thirds A-flat major D-flat major 30 *) See Fingering Chart</p><p>Scales in Thirds 5 G-flat major 31</p><p>5 Scales in Thirds C major & & & & G major 32</p><p>Scales in Thirds 5 D major A major 33</p><p>5 Scales in Thirds E major B major 34</p><p>Scales in Thirds 5 F-sharp major 35</p><p>6 Smooth Double Tonguing Sixteenth-eighteenth century sources inform us that The syllables di-ge should be used throughout the fol- double syllables were used for the performance of cer- lowing exercises but also serve as a model for other tain passages of notes on wind instruments. Some possible syllable combinations (do-go, di-gi, de-ge, important examples: do-ge, du-ge etc.). Sylvestro Ganassi, La Fontegara, Venice 1535 (a trea- Repeat "di-ge" slowly several times and really tise on the art of playing the recorder and text book "feel" the movement in your mouth. As you say "di" for diminution): (pronounced with a short "i" as in "did"), a stream of Le-re, te-re, te-ke, de-re air is released by the action of the tip of the tongue (the is pronounced with the tip of the tongue, like being pulled away from the front gum whereas with an Italian "ge", the tip of the tongue sits on the floor of the mouth whilst the soft palate, which was held up by Hotteterre le Romain, L'Art de preluder sur la tra- the back of the tongue, releases the air stream. versière, sur la a bec, sur le hautbois et autres Try all possible vocal forms one after the other (do- instruments de dessus, Paris 1719: ge, do-go, Begin by speaking slowly and Tu-ru (pronounced "too-roo", again with a tongued" then articulate the syllables with your instrument in front of a mirror. Establish: J. J. Quantz, Versuch einer Anweisung die Flöte tra- versière zu spielen (On Playing the Flute), Berlin 1752: how the shape of your mouth changes Ti-ri, did'll (pronounced "di-dl") how your tongue moves for each of the different syllables The purpose of double-syllable tonguing, called dou- whether the different syllables affect the tone ble tonguing, is twofold: colour firstly, by using alternate tongue strokes (e.g. di-ge, which syllables are the most comfortable for you; di-ge, di-ge), the tongue is more easily able to play which produce the most tension series of fast notes whereas, if repeated single-syl- repeat each double-syllable several times; which lable tonguing were used (di-di-di-di), the tongue feels most comfortable for you would quickly tire purse your lips and say "doo-goo". The shape of secondly, the difference in sound between each of your mouth should match closely the shape of the a pair of tongued syllables such as di-ge exempli- beak of the recorder. fies the different strengths of the notes according to rules for the performance of early music. These For your first double-tonguing exercises decide on a recognise the first and third beats in the bar as syllable pair that feels comfortable and stick with that "good" (stressed) and the second and fourth beats at least until the first signs of success. as "bad" (unstressed). This principal extends even Goal: to produce a smooth sequence of notes with to the smallest note values. neat co-ordination between tongue and fingers. Exercises for Smooth Double Tonguing (di-ge) (begin slowly, increasing the tempo gradually over a period of weeks) Tempo: a) b) c) d) 36</p><p>Smooth Double Tonguing 6 Tips for Exercise a Play individual groups of four notes followed by a Try the opposite too! short pause. Stress the first sixteenth note and allow the following notes to fall away in a decrescendo. Tongue di ge di ge di ge Focus your attention on the impulse given to the first Air "di". The air flows like a conveyor belt in an unbro- ken stream over the tongue. We began this exercise with the C major scale The tongue-strokes "d" and "g" should not inter- because of its straightforward fingering combinations rupt the flow of air. and the relative ease of playing in the middle regis- ter. Continue with B flat major, D minor, G major, G minor, D major and A minor. ge ge ge ge ge Tongue When you are able to play these scales with a full, Air di smooth and even tone, without impurities, continue the exercise in all remaining keys. Directions for the Following Exercise Breathe in slowly and calmly and repeat the first pat- Are your shoulders, arms and head relaxed and tern, up to the third, for as long as you have breath loose that they can move during playing? available. Play slowly at first, increasing the tempo very gradually but continuously. Listen carefully for Play the remaining sequences of a fifth and octave the following: beginning with a single stressed note; the following Is your tongue movement smooth but audible and notes should flow seamlessly, without accent. Play rhythmically accurate? "continuously" here too, beginning slowly and only Are your finger movements smooth and even? very gradually becoming faster, ensuring a full, Is your playing relaxed and easy, neither louder nor smooth and even tone throughout. softer than mf? 1. 2. Causes of Mistakes/Problems: After a few weeks of practising double-tonguing on Inaccurate or poorly co-ordinated finger movements; the alto repeat the exercises transposed for the sopra- noisy tongue; notes sounding detached due to too no (see exercise page 36): hard articulation; tonguing too soft and indistinct causing the notes to blur together. "Comagain" Differentiate clearly between the various figures, making the tempo of the initial theme. The lively character of the leaps and melodic stepwise passages clear through the variations results from the introduction of pro- careful use of different articulations including chang- gressively smaller note values (a practice known as ing between single and double-tonguing (di, di-ge). diminution). When practising these works it is neces- The tempo of the variations in the solo works from sary to refer to the theme constantly for the correct the "Fluyten Lust-hof" of Jacob van Eyck depends on tempo. 37</p><p>6 Smooth Double Tonguing Comagain Jacob van Eyck ca. 1590-1657 (from: "Der Fluyten Lust-hof") Modo 5 (d = 60) V S/A di-ge di-ge di-ge di di di di di-ge di-ge di-ge di di-ge di-ge di-ge di di di di di-ge di-ge di-ge di di di-ge di-ge di-ge di di-ge di-ge di-ge 1. 2. d-g Practise on the soprano recorder as above but transposed to F major for the alto: 38</p><p>Smooth Double Tonguing 6 Psalm 150 Jacob van Eyck Modo 5 (d = 60) S/A di-ge di-ge di di di-ge di-ge di-ge di di di-ge di-ge di di di Practise on the soprano recorder as above but transposed to B flat major for the alto: 39</p><p>6 Smooth Double Tonguing In the following repertoire list from the late sixteenth passing notes. The main "structural" notes of the orig- and seventeenth centuries the diminutions serve a inal melody can be lengthened or lingered upon and similar function to that of decorations in architecture. the "lost" time regained by accelerating through the Here the clear, strict form is interrupted and the less important ornamental notes. The pulse, however, observer is given the opportunity to linger on and should not be allowed to become unsteady. enjoy small playful details such as flowers, vines or small statues of people and animals as well as ornate Repertoire List curved lines and shapes. In music, the antiquated Venetian Music from 1666, Schott OFB 122 madrigal and motet themes and the stereotypical can- Jacob van Eyck, Der Fluyten Lust-hof, Amadeus BP 704, zona motif were delicately and playfully varied, the 705, 706 pillars of the structure of the original melody being Dario Castello, Sonata concertate, Studio per Edizioni entwined and played with. It should be clear that Scelte No. 15, No. 44 these embellishments must sound light, just as the Giovanni Batista Fontana, Sonate a 1, 2, 3 per Violino decorations on a building have the effect of adding Studio per Edizioni Scelte No. 5 variety and making the building look less severe, more Giovanni Batista Fontana, Six Sonatas, Amadeus friendly. Indeed, eyes and ears are distracted, delight- BP 466 ed and can enjoy the pleasure of the additions. Francesco Rognoni, Vestiva, i colli, Edition Moeck Nevertheless, the decorations remain inextricably Nr. 2547 linked to both building and musical framework. The Marco Uccellini, Sonatas Op. 5, Mieroprint EM 3039 ornaments should become neither independent nor an Angelo Notari, Canzona passagiata, Nova Music end in themselves. Musically, this means that the per- Giovanni Antonio Pandolfi Mealli, Three Sonatas, former may not use ornamentation for the display of Verlag Doblinger DM 414 his own virtuosity rather, in the overall musical con- Giovanni Bassano, et cadentie, text, the ornaments must always be meaningful and Pelikan Edition 975 comprehensible. Technically, the use of gentle and Aurelio Virgiliano, Dolcimelo, London Pro Musica unobtrusive sounding articulation which is similar to Edition the gentle "entwining" effect of true legato is most Bartolomeo de Selma, Canzoni, Fantasie et Correnti, appropriate. The tempo in most cases is given in lar- Studio per E.Sc. 38 ger note values = 60 or 40) which allows for some Bartolomeo de Selma, Three Canzonas, PAN 859, 850 rhythmic flexibility within the ornamental figure thus Girolamo Dalla Casa, Divisions on chansons, London making possible the distinction between main and Pro Musica REP 3 40</p><p>Virtuoso Technique in all Keys 7 A virtuoso technique will help you master the virtu- Continue using gentle double tonguing even in the osic aspects of baroque music. The numerous pas- high register, supporting the high notes with a well- sages of figures from baroque concertos and sonatas directed stream of breath instead of attacking each included here, which place great demands on your note with a strong tongue-stroke. technical ability, especially regarding fluency (i.e. When using complex fingering combinations take speed and flexibility) and precision in co-ordination care to analyse precisely each finger movement. of fingers and tongue, are intended to help with this. Virtuosity (from Latin, virtus = virtue, ability) must be This modest amount of work, five to ten minutes, brought into play, above all, with regard to your sta- offers effective progress in your practice. In this way mina, concentration and critical faculties SO that in the you will avoid weeks of poor quality "brainless" play- concert situation you will be able to fall back on a ing-through which results at best in meagre progress. securely based technique. Devote your time to one key - for several weeks Practice Examples if necessary - until you are fluent with all fingering combinations and pleased with your sound. Requirements for Practising Lots of time 1 2 3 4 1 quiet an appropriate chair with a flat sitting surface, not 1. Play the figure slowly and observe how the finger one which slopes backwards, and with a straight movements of both hands are distributed over the back that you can lean against without slouching. four sixteenth notes. In this example fingers on sit with your legs set straight from your hips and both hands move for each sixteenth note. your feet flat on the floor. There is no tension either 2. Now "play" the figure silently, fingering the notes in your thighs or lower legs; don't "hold" your legs and humming the pitch or rhythm to maintain your together nor allow them to "fall apart". Head, orientation. shoulders and arms are relaxed and should remain 3. Silently finger each note without humming - con- throughout each section of your practise session centrate on "feeling" your finger movements. (e.g.. F maj.: a, b, c). Control (ie. restrict) your Finger movements should be precise and rhythmic movement whilst playing. - check this by making the contact of fingers on recorder audible (finger slapping). Observe your Instructions for Practising finger movements. 4. Finger the figure from memory and with eyes Use the articulation syllables "di-ge, di-ge" closed. and "di-ge-di" 5. Only the fingers of the right hand move in the Repeat each bar for as long as you have breath rhythm of the figure - hum to maintain orientation. available. 6. Now play with the fingers of the left hand only. For Begin with a tempo of = 60 and "feel" your which notes must your thumb move? tongue and finger movements. Increase the tempo 7. Combine the finger movements of both hands but gradually whilst playing until you reach a tempo this time try to play the figure with the new "fin- of = 120-130 but if problems arise "switch" back ger awareness" and not working intuitively, "fin- (without stopping) into a slower pace. When your gering-by-ear". playing is sufficiently secure, increase the tempo again. Ensure that all notes are clearly audible and care- fully assess the quality of the highest and lowest notes. 41</p><p>7 Virtuoso Technique in all Keys Make a note here again of any fingering combinations which you find particularly difficult. Exercises in all Keys F major 42</p><p>Virtuoso Technique in all Keys 7 d minor 43</p><p>7 Virtuoso Technique in all Keys B-flat major etc. to etc. to etc. to etc. to etc. to etc. to g minor etc. to a etc. to etc. to etc. to etc. to etc. to 44</p><p>Virtuoso Technique in all Keys 7 E-flat major minor 45</p><p>7 Virtuoso Technique in all Keys A-flat major f minor 46</p><p>Virtuoso Technique in all Keys 7 D-flat major b-flat minor 47</p><p>7 Virtuoso Technique in all Keys G-flat major e-flat minor 48</p><p>Virtuoso Technique in all Keys 7 C major a minor 49</p>