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Advanced Recorder Technique, The Art of Playing the Recorder, Vol. 2: Breathing and Sound. 9783795705176

Advanced Recorder Technique, The Art of Playing the Recorder, Vol. 2: Breathing and Sound

Schott Musik International. 2005

Ficha técnica

  • EAN: 9783795705176
  • ISBN: 978-3-7957-0517-6
  • Editorial: Schott Musik International
  • Fecha de edición: 2005
  • Encuadernación: Rústica
  • Dimensiones: 23x30,5
  • Idioma: Inglés
  • Traductor: Peter Bowman
  • Nº páginas: 48

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Gudrun Heyens: Técnica avanzada de flauta de pico, vol. 2: respiración y sonido.

Advanced Recorder Technique is intended for advanced players of the alto recorder who are seeking rigorous practise material for developing their instrumental and musical skills. The aim is that within the purely technical material the player will be able to discover and transform the musical parameters of sound, movement, tension/relaxation, and from that learn to deal musically with the individual technical elements (scales, arpeggios, trills, etc.)

In accordance with the requirements of the recorder's original literature the exercises are intended mainly for the alto recorder. However, numerous recent arrangements of early baroque violin music for soprano recorder, which have become an established part of the repertoire, have necessitated the serious treatment of this instrument, too. A number of the chapters can therefore be played not only on the alto but transposed for the soprano recorder as well.

The term "technique" should not be misunderstood: the objectives of the exercises are musical expression, inspiration, emotion and creative note-shaping. This two volume method deals with four aspects of recorder playing: finger and tonguing technique as well as breathing and sound production.


1. Physical Sensivity
2. Becoming Aware of Breathing
3. Diaphragm Awareness
4. Breathing Exercises (without the instrument)
5. Breathing Exercises (with the instrument)
6. Breath Support ("flexible tension")
7. Exercises for Sound
8. Vibrato
9. Phrasing and Breathing
10. Suggestions for Note-Shaping in Examples from the Repertoire

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