The first recorders played in modern times were ancient instruments from earlier periods. For the record, Arnold Dolmetsch was motivated to make his own recorders after losing a bag with his antique instruments. Recorders of the early 20th century imitated Baroque models in their external form, but differed considerably in structure. Dolmetsch introduced English fingering, the fingering used today for “baroque” scale models, and standardized the double 6th and 7th holes found on a handful of antique instruments made by English manufacturers Stanesby and Bressan. Interpretive instruments, unlike the curved wind trajectories of all historical instruments, generally had a large rectangular wind trajectory and played in a modern height. The open end of the hole facing the player (the “bell”) can be covered to create additional notes or effects. Since both hands are usually busy holding the recorder or covering the holes in the fingers, covering the bell is usually achieved by putting the end of the recorder in contact with the leg or knee, usually by a combination of bending the trunk and/or raising the knee. Alternatively, in rare cases, instruments may be equipped with a key covering the bell (“bell key”) operated by one of the fingers, usually the little finger of the upper hand, which is not normally used to cover a hole. Fingerings with concealed bell extend the chromatically playable range of the recorder above and below the nominal range of the fingers. In addition to sequential detection, recorders can use forked fingerings to produce sounds different from those produced by simply lifting fingers sequentially.
Fingering 0123, air escapes from open holes 4, 5, 6 and 7. The pressure inside the hole is higher on the fourth hole than on the fifth and decreases further on the 6th and 7th holes. Therefore, most air leakage from the fourth hole and the least air from the seventh hole. Therefore, covering the fourth hole will have a greater effect on the playing field than covering any of the holes below. Thus, the fingering 01235 produces a step between 0123 and 01234 at the same air pressure. Forked fingerings allow flutists to obtain fine gradations of pitch and timbre. Marvin designed a Flauto-Doppio based on the Oxford instrument and scaled for F4 and C5. The Italian recorder Francesco Livirghi designed a double recorder or doppio flute with connected and inclined pipes of equal length, but played with different hand positions, based on iconographic sources.
His bagpipes play in F4 and B♭4. [70] Both instruments use fingerings according to the manufacturer`s design. Fontegara can be roughly divided into two parts: the first concerns the recorder technique, the second the demonstrated divisions (regole, passagi, ornaments), some of great complexity that the player can use to decorate a melody or literally “split” it into smaller notes. In all aspects, Ganassi emphasizes the importance of imitating the human voice, stating that “the goal of the recorder player is to imitate all the abilities of the human voice as closely as possible,” claiming that the recorder is indeed capable of doing so. For Ganassi, the imitation of the voice has three aspects: “a certain artistic skill”, which seems to be the ability to perceive the nature of music, prontezza (dexterity or dexterity), obtained “by varying the respiratory pressure and shading the tone by appropriate fingerings”, and galanteria (elegance or grace), achieved by articulation and the use of ornaments, The “simplest ingredient” of them is the trillium, which varies according to the expression. An essential use of partial coverage is to “leak” or partially cover the thumb hole to destabilize the bass harmonics. As a result, higher harmonics can sound at lower air pressures than blowing alone, as with simple whistles. The player can also lick other holes to destabilize the lower harmonics instead of the thumb hole (hole 0). This technique is demonstrated in the fingering tables of Ganassis Fontegara (1535), which illustrate the simultaneous escape of holes 0, 2 and 5 to produce high notes. For example, the Ganassi table creates the 15th (third octave tonic) as the fourth harmonic of the tonic, licks holes 0, 2 and 5 and creates the 16th as the third harmonic of the fifth and licks holes 0 and 2. In some baroque recorders, the 17th can be produced as the third harmonic of the sixth, with hole 0 and hole 1, 2 or both leaking.
The recorder gained great popularity in the 16th century and is one of the most common instruments of the Renaissance. From 15. Virdung`s didactic treatise Musica getutscht (1511), the first of its kind, was addressed to the layman (see also documentary evidence). Henry VIII of England was an avid recorder player, and at his death in 1547 an inventory of his possessions included 76 recorders in concubines of various sizes and materials. [77] Some 16th-century Italian paintings depict aristocracy of both sexes playing the recorder, but many gentlemen found it indecent to play because she used the mouth, preferred the lute, and later the viol. [2] Our current knowledge of the structure of recorders in the Middle Ages is based on a small number of instruments and works of art or iconography from this period. The following table shows the main differences between a display device and a capture device: The viewing device records an immediate playback, but previous readings are not available. Therefore, to monitor the measured value. The operator needs continuous monitoring to observe fluctuations in the measured values. It is possible to convert the display device into a recording device.
This can be achieved by replacing the pointer of the indicating instrument with the light-arm ink pen. “Il dolcimelo” by Aurelio Virgiliano (circa 1600) presents ricercars intended for the recorder or playable on the recorder, a description of other musical instruments and a fingering table for a recorder in G4 similar to that of Jambe de Fer. [69] The size size is read from the plotted diagram. The devices are used in power plants where continuous playback is required. A type of electric meter that measures and records continuous changes in the value of an electrical quantity over a period of time is called a recording device. The ink pen is deflected to record readings on graph paper. The pin is continuously rotated on the drum at a constant speed. The path followed by the pen provides a continuous reading of the varying physical quantity. The widely spaced double seventh hole remained in later instruments. According to Virdung (1511), the unused hole was plugged with wax.
[56] It was not until the Baroque period, when instruments with adjustable pegs were developed, that widely spaced double holes became obsolete. A number of instruments other than normal recorders have been suggested for the Fiauto d`echo. One of the first alternatives proposed, by Thurston Dart, was the use of double flageolets, a proposal that has since proven to be based on uncertain musicological motifs. However, Dart highlighted numerous newspaper references to Paisibel`s appearance on an “echo flute” between 1713 and 1718. Another contemporary mention of the “echo flute” is found in Etienne Loulié`s Éléments ou principes de musique (Amsterdan, 1696): The sounds of two echo flutes are different, because one is loud, and the other is foible. Loulié doesn`t know why you need two echo flutes to play loud and weak, and why echo flutes differ. Perhaps the echo flute was composed in two halves: one that plays loudly, the other weakly? We can only speculate about this. A device used to display and measure various electrical quantities such as current, voltage, energy, power, etc. is called a meter. The inspiration and exhalation technique for the recorder differs from that of many other wind instruments in that, unlike reed or brass instruments, the recorder requires very little air pressure to produce a sound. [49] For example, it is often necessary for a tape recorder to create long, controlled airflows at very low pressure. The breathing technique of the recorder focuses on the controlled release of air rather than maintaining diaphragmatic pressure.
Therefore, the main function of a display instrument is to provide information about the size of the variable quantity to be measured. The word flageolet has been used since the 16th century. The instrument is sometimes referred to by general terms such as flautino and flauto piccolo, making it difficult to identify its oldest form. It was first described by Mersenne in Universal Harmony (1636) as having four fingers on the front and two thumb holes at the back, with the lowest tone C6 and a range of two octaves. As with the recorder, the hole in the upper thumb is used as an octave opening. The flageolets were usually small flutes, but their lowest tone varies. [91] They were first popular in France, and from there the flageolet first arrived in England in the seventeenth century and became a popular amateur instrument, as did the recorder later. In fact, when the recorder was introduced in England, it was presented as a simple instrument for those who already played the flageolet, and the first English recorder teachers are noted in the flageolet tablature of the time called “dot-way”. It should be noted that diarist and naval administrator Samuel Pepys (1633-1703) and his wife were both amateur flageolet players, and Pepys was later an amateur recorder player. The common features of the preserved instruments are: a narrow cylindrical bore (with the exception of the Göttingen recorder); a double seventh hole so that the little finger of the lower hand can play right-handed or left-handed (except the Tartu recorder); a seventh hole that produces a semitone instead of a tone; and a flat or truncated head instead of the narrow mouthpiece found in later instruments.
