Thank you for sharing this! Is there any books for warm up and tone development in the recorder? For example, on the flute we got Marcel Moyse “De la sonorite” or the Reichert 7 daily excersices. Is there something similar for the recorder? Or can I adapt the same excersices for flute to recorder? Thanks!!!
Thank you very much!! I can’t think of something specific, except for the method by Luthi - it’s a method of 6 books, each of them on a specific theme, and I believe the first (or the second book) is about the use of air and the sound. That would be the only book I’ve worked with that I would recommend - in fact, the entire method is very interesting.
Lobke I have been self-taught for 5 years and my method is not to work on scales. I prefer to study difficult pieces. I started almost straight away with bwv 1034 allegro and repeated for hours and hours. Then I studied 1030 to 1035. I learned everything by heart. Today I learned the first 6 telemann fantasies by heart and I plan to learn the 12 by heart. I managed to progress like that by repeating every day. I learn little by little. I start with a section then the next day another section and little by little I know the pieces by heart. Sometimes I repeat that the passage really difficult. I also memorized the moto perpetuo 11 and I repeat it every day as a range. My scales are therefore: Alto = 1034 + 12 telemann fantasies (for now 6) and on Soprano = telemann partita 1 to 6 and Moto perpetuo 11 + RV 443 (2 allegros + largo).
Hello! For me, working on difficult pieces would come after the general and very relaxed warming up. The idea is to have something we know very well so that we don’t have to think about the notes and can relax the body as much as possible, and it has combinations of intervals that we will find in several pieces. Scales consist of seconds, which we can look at as building blocks in different tonalities, but so are jumps. If we were to do it systematically, after playing seconds, we’d play thirds, fourths, fifths… but in any case it should be something we can stick to. For me scales are first, to get back to my basics, focus on how the body feels, my blowing, coordination etc. before working in the same way with existing pieces. Then, “The Complete Articulator” is best warming up and training for my articulation. The thing with these exercises is that they isolate certain aspects so that we can focus completely on breath support, posture, relaxation of anything that is doing a little too much, etc. I don’t have to think about changing intervals at this point; that comes after my 10-15 minutes of scales - Complete Articulator or any articulation exercise on repeated notes - double tonguing on arpeggios. But it’s always a balance of work and joy. If you detest playing scales, there are other ways of working on the same. I would say, try taking 10 minutes before the difficult pieces and dedicate that time to long notes, articulation exercises to warm up the tongue, some gentle yet rhythmical exercises to work on coordination between air and fingers, and then some double articulation. Ask yourself what you would like to improve in your basic technique and isolate that. This is still the warming up so it’s always about gentle work and as small as possible for the fingers. I’m sure you’ll find some isolated exercise for a particular difficulty, or to improve your sound, or improve anything that you’d like to get faster, lighter, more relaxed etc.
@@LobkeSprenkeling Thanks Lobke. I didn't know "complete articulator" I just saw it on scribd and with "All Debrid" I can download most books for free. Otherwise I listen carefully to your valuable advice. You are a virtuoso and I take what you say seriously. I do not claim to hold the truth about a miracle method. I simply think that we all have our uniqueness and our personality and that we have to listen to the little inner path that pushes us towards a direction and be able to get out of academic pedagogy. Telemann was self-taught it seems? I'd be curious to know if he really was. Anyway as we say in France, French proverb "It's by forging that one becomes a blacksmith". All that to say that you have to play, play and still play for hours and every day (except Shabbat, lol), basically it doesn't matter the method. It's all about learning difficult pieces and rehearsing them, perfecting them. Not wanting to play fast if it's hard to play fast. Know your limits. Do not hesitate to breathe more than the score requires. As far as I am concerned, I have a small respiratory capacity and therefore I often take short breaks to catch my breath. Like Aldo Bova who adapts the pieces according to a new way of breathing less tiring than most professionals who play long passages in apnea. I agree with you on relaxation in the fact that it is better to play slowly but fair (play relaxed but fair) than to play fast but imperfect.
Thank you so much 🙏
You’re very welcome! :)
DNk je wel Lobke, alweer een boeiende video
Dank je, David, wat fijn om te lezen!
Super !!!
Thank you so much, Harri!! 🤗
Very useful !!! 👏🏼👏🏼❤️❤️
Muchas gracias Noelia!! ❤️
Thank you for the very useful information :)
It’s a pleasure, thank you for your comment! :)
Thank you for sharing this!
Is there any books for warm up and tone development in the recorder?
For example, on the flute we got Marcel Moyse “De la sonorite” or the Reichert 7 daily excersices. Is there something similar for the recorder? Or can I adapt the same excersices for flute to recorder?
Thanks!!!
Thank you very much!! I can’t think of something specific, except for the method by Luthi - it’s a method of 6 books, each of them on a specific theme, and I believe the first (or the second book) is about the use of air and the sound. That would be the only book I’ve worked with that I would recommend - in fact, the entire method is very interesting.
Lobke I have been self-taught for 5 years and my method is not to work on scales. I prefer to study difficult pieces. I started almost straight away with bwv 1034 allegro and repeated for hours and hours. Then I studied 1030 to 1035. I learned everything by heart. Today I learned the first 6 telemann fantasies by heart and I plan to learn the 12 by heart. I managed to progress like that by repeating every day. I learn little by little. I start with a section then the next day another section and little by little I know the pieces by heart. Sometimes I repeat that the passage really difficult. I also memorized the moto perpetuo 11 and I repeat it every day as a range. My scales are therefore: Alto = 1034 + 12 telemann fantasies (for now 6) and on Soprano = telemann partita 1 to 6 and Moto perpetuo 11 + RV 443 (2 allegros + largo).
Hello! For me, working on difficult pieces would come after the general and very relaxed warming up. The idea is to have something we know very well so that we don’t have to think about the notes and can relax the body as much as possible, and it has combinations of intervals that we will find in several pieces. Scales consist of seconds, which we can look at as building blocks in different tonalities, but so are jumps. If we were to do it systematically, after playing seconds, we’d play thirds, fourths, fifths… but in any case it should be something we can stick to. For me scales are first, to get back to my basics, focus on how the body feels, my blowing, coordination etc. before working in the same way with existing pieces. Then, “The Complete Articulator” is best warming up and training for my articulation. The thing with these exercises is that they isolate certain aspects so that we can focus completely on breath support, posture, relaxation of anything that is doing a little too much, etc. I don’t have to think about changing intervals at this point; that comes after my 10-15 minutes of scales - Complete Articulator or any articulation exercise on repeated notes - double tonguing on arpeggios. But it’s always a balance of work and joy. If you detest playing scales, there are other ways of working on the same. I would say, try taking 10 minutes before the difficult pieces and dedicate that time to long notes, articulation exercises to warm up the tongue, some gentle yet rhythmical exercises to work on coordination between air and fingers, and then some double articulation. Ask yourself what you would like to improve in your basic technique and isolate that. This is still the warming up so it’s always about gentle work and as small as possible for the fingers. I’m sure you’ll find some isolated exercise for a particular difficulty, or to improve your sound, or improve anything that you’d like to get faster, lighter, more relaxed etc.
@@LobkeSprenkeling Thanks Lobke. I didn't know "complete articulator" I just saw it on scribd and with "All Debrid" I can download most books for free. Otherwise I listen carefully to your valuable advice. You are a virtuoso and I take what you say seriously. I do not claim to hold the truth about a miracle method. I simply think that we all have our uniqueness and our personality and that we have to listen to the little inner path that pushes us towards a direction and be able to get out of academic pedagogy. Telemann was self-taught it seems? I'd be curious to know if he really was. Anyway as we say in France, French proverb "It's by forging that one becomes a blacksmith". All that to say that you have to play, play and still play for hours and every day (except Shabbat, lol), basically it doesn't matter the method. It's all about learning difficult pieces and rehearsing them, perfecting them. Not wanting to play fast if it's hard to play fast. Know your limits. Do not hesitate to breathe more than the score requires. As far as I am concerned, I have a small respiratory capacity and therefore I often take short breaks to catch my breath. Like Aldo Bova who adapts the pieces according to a new way of breathing less tiring than most professionals who play long passages in apnea. I agree with you on relaxation in the fact that it is better to play slowly but fair (play relaxed but fair) than to play fast but imperfect.