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Recorder Thread!


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#3601 elemimele

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Posted Yesterday, 13:10

The first half, up to the repeat, sort of made sense, but I wasn't sure what to make of the part after the repeat. I need to think about the bass to see how it fits, with that weird flat. At the moment I don't know how to make the second half attractive either (who knows, maybe even Handel had days when he wasn't feeling very inspired about the second half of a minuet). I can see it's a nice piece for practising jumps though, and getting the changed breath-pressure right, from low to high and back, isn't always all that easy with a recorder. Is it the 2nd half that was bothering you too?


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#3602 Zixi

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Posted Yesterday, 14:34

Yes, it's a great practice tool! The first part has sort of grown on me except in my version there's a breath mark in bar 16 after the first crotchet - ie after the minim and before the repeated quavers -  it catches me every time. I want to phrase after the minim and start the next phrase with the crotchet. The second half is good for slurring! Technically, it's the not the hardest piece my teacher gave me for this week - by a long way - but it's probably challenged me the most to make sense of it. Perhaps it is one of those pieces that when it's fitted with the accompaniment it sounds 'right'! My version is from Easy Pieces from the 17th and 18th Centuries and it has a piano accompaniment. As an aside, I love that little collection. It has some real treasures!


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#3603 old_and_grumpy

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Posted Yesterday, 16:22

Perhaps it is one of those pieces that when it's fitted with the accompaniment it sounds 'right'!

 

I don't know this minuet but I often find that pieces that are baroque or earlier, and slow, can be really tricky to navigate without an accompaniment - tricky both to keep the timing right, and for them to sound any good.  The "Italian Ground" from the Division Flute is like that - it's not especially difficult because it's quite slow but there are assorted gaps and it sounds better all round with accompaniment.

 

I'm working on some pieces from Dowani books at the moment.  They are quite expensive but they do have accompaniments (and demo versions) and I find that really useful, plus the pieces are hard enough that they keep me going for a good while (ie, I get my money's worth out of the book!).


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#3604 Zixi

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Posted Today, 06:42

I agree. I'm tempted to say 110% but we've decided here not to encourage the misunderstanding of percentages even in jest. In any case, slow can be extremely hard on a recorder because it can challenge breath control and mess up phrasing. Our teacher often tells my husband that he's lucky - the piano can be practised slowly but that's much harder on a wind instrument.

 

You reminded me that I'd bought a Telemann Dowani ages ago but it was far(!!!) too difficult for me then. I really must take a look as maybe I can manage (some of) it now. I've just ordered Gudrun Heyen's Concerto  (with CD) which is described as suitable for the second year of study. It has some Playford which I know and ok that isn't particularly difficult but it also has Greensleeves to a Ground (some of) which I still can't play after 4 year's of playing! So I suspect Concerto might be a mixed bag for me. Some bits will make me feel smug and others will really tax me. I like books like that.


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