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Recorder Thread!


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#3061 elemimele

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Posted 08 May 2018 - 16:01

.. I don't have the expertise either, but we've all got to choose who/what to emulate, what to aim for in our playing, so I make up an amateurish opinion and hope!

 

Yes, future generations will be able to study the 20th C onwards with far more clarity than we can see the 18th C; recording technology is a good thing.

 

Harpsichords; I'd love to see what they're like when well-set-up! Our school harpsichord (a long time ago, and we were lucky to have it) had a tail-end rotated 30 degrees one way, and a keyboard rotated 15 degrees the other. I'm guessing that wasn't the way it was designed.

 

Anacrusis, maybe it's the lack of a curly wig that is getting in the way of my developing a proper French pout. Pah!


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#3062 elemimele

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Posted 08 May 2018 - 22:31

a couple of different bits of Family Hotteterre; first Jacques-Martin from a YouTube user called Sevillarecorder, which I think is owned by a convervatoire, and which features quite a lot of Hotteterre played differently to the version I was describing at unreasonable length yesterday. Try this link:

But also, for fun, the inimitable Eduardo Antonello(s) playing Jeanne Hotteterre with themselves: https://www.youtube....h?v=1rIf1X3j53A. His rendition of le Premiere Marche pour la Noce Champetre makes me happy.


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#3063 Zixi

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Posted 09 May 2018 - 06:53

Ah but you do have the expertise! And I agree that it is something an aspiring player needs to be able to do! I knew exactly what you meant when I listened to some pieces but I couldn't have pointed it out for myself. I don't have the experience or the skill to do that (yet!) but I still enjoy 'listening' to other people point things out!

 

I love the second piece and it seemed familiar then as I read the French title and bothered to register it I realised it's the rustic wedding!

 

Yesterday I re-read Hotterre's treatise and tried to make sense of his tonguing. I know the forum had a discussion about it a little while back so I won't start that off again. But I do find his comments intriguing.


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#3064 anacrusis

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Posted 19 May 2018 - 22:50

 

 

Anacrusis, maybe it's the lack of a curly wig that is getting in the way of my developing a proper French pout. Pah!

 

 

hehe, you've put me in mind of our conductor explaining his rough guide to which way up trills should go :D . He says, look at a picture of the composer of the music in question. If a wig is worn, then the trill starts on the upper note, if not, then on the lower. Slightly messed up if you choose the picture of Handel in his turban, but in principle the idea works rather well .... 


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#3065 elemimele

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Posted 20 May 2018 - 20:52

...all I can hope for future generations is that each time there is a major overhaul of ornamentation, there should also be a major overhaul of hairstyling.

 

While on the subject, does anyone know what a short vertical line, or a wedge-shaped vertical line over the top of a note means? (or a very narrow V shape?). Is it an accent? In a violin, I know the V shape means play with an up-stroke of the bow, but do these symbols have meanings outside violin-world?


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#3066 Maizie

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Posted Yesterday, 06:42

Yes, it's an accent.  On the Wikipedia page https://en.wikipedia...i/Accent_(music) there are many different accent symbols given - I wouldn't take the different meanings for each symbol as gospel, especially not if your music is Baroque and therefore 'pre-standardisation'.

Frankly, even if composer were prescriptive about the accents, getting the note accented would be my concern, I wouldn't think I could do the nuance of different sorts of accent rofl.gif  You can see why I didn't get on with Hotteterre's suites biggrin.png


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#3067 old_and_grumpy

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Posted Yesterday, 14:15

The V shape can also be a breathing mark, though then you'd expect it to be between notes rather than over one.


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#3068 elemimele

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Posted Yesterday, 14:52

Thanks both, much appreciated!


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