See also:FLUTE (Fr. fluted-bec, flfite
See also:douce, flute anglaise or flute a neuf trous: Ger .
See also:Block- or Plockflote, Schnabelflole, Langflote; Ital. flauto deice, flauto diritto), a
See also:medieval flute, blown by means of a
See also:whistle mouthpiece and held vertically in front of the performer like a
See also:clarinet . The recorder only survives in the now almost obsolete
See also:flageolet and in the so-called
See also:penny-whistle . The recorder consisted of a wooden
See also:tube, which was at first cylindrical or nearly so, but became, as the instrument
See also:developed and improved, an inverted
See also:cone . The whistle mouthpiece has been traced in almost prehistoric times in
See also:Egypt and other
See also:Oriental countries . The principle of the whistle mouthpiece is based on that of the simplest flutes without embouchure, like the
See also:nay, with this modification, that, in
See also:order to facilitate the production of sound, the air current, instead of being directed through ambient air to the
See also:sharp edge of the tube (or the lateral embouchure in the
See also:modern flute), is blown through a chink directly into a narrow channel . This channel is so constructed within the mouthpiece that the stream of air impinges with force against the sharp edge of a
See also:lip or fipple cut into the
See also:pipe below the channel . This throws the air current into the state of vibration required in order to generate sound-waves in the
See also:column of air within the tube . The inverted cone of the
See also:bore has the effect of softening the
See also:tone of the recorder still further, earning for it the name of flute douce . Being so easy to
See also:play, the recorder always enjoyed
See also:great popularity in all countries until the greater possibilities of the transverse flute turned the
See also:tide against it . The want of character which distinguishes the timbre of the whistle-flute is due to the paucity of
See also:harmonic overtones in the clang . The recorder had seven holes in front and one at the back for the thumb .
Aslong as the tube was made in one piece the lowest hole stopped by the little
See also:finger was generally made in duplicate to serve equally well for right- and
See also:left-handed players, the unused hole being stopped with
See also:wax . Being an open pipe, the recorder could overblow the octave and even the two following harmonics (i.e. the twelfth and second. octave) . The holes produced the diatonic scale, and by means of harmonics and
See also:cross-fingering the second and
See also:part of a third octave were obtained . The recorder is described and figured by Sebastian Virdung,
See also:Agricola and Ottmar Luscinius in the 16th century, and by Michael
See also:Praetorius and Marin
See also:Mersenne in the 17th century . Praetorius mentions eight different sizes ranging from the small flute two octaves above the cornetto to the great
See also:bass . The lowest notes of the large flutes were provided with keys enclosed in perforated wooden or brass cases, which served to protect the mechanism, as yet somewhat
See also:primitive; the keys usually had
See also:touch pieces to suit right- or left-handed players . There are at least two
See also:fine sets of recorders extant : one is pre-served in the Germanisches Museum at
See also:Nuremberg, consisting of eight flutes in a case and dating from the 17th century; the other is the Chester set of four 18th-century
See also:instruments, which are fully described and illustrated in a paper by
See also:Joseph C .
See also:Bridge.' The recorder has been immortalized by
See also:Shakespeare in the famous scene in
See also:Hamlet (II . 3), which has been treated from the musical point of view in an excellent and carefully written article by Christopher Welch, the author of an equally valuable paper, " The Literature of the Recorder." 2 The small whistle-pipe used to accompany the
See also:tabor (Fr. galoubet; Ger . Stamentienpfeiff or Schwegel), which had but three holes, belongs to the same
See also:family as the recorder, but from its association with the tabor it acquired distinctive characteristics (see PIPE AND TABOR) . (K . S.) ' " The Chester Recorders " in Proc .
See also:Mus . Assoc.,
See also:London, 1901. z " Hamlet and the Recorder," ibid., 1902 and 1898 .
RECTOR (Lat. for " ruler," " guide," &c., from rege...
There are no comments yet for this article.
Do not copy, download, transfer, or otherwise replicate the site content in whole or in part.
Links to articles and home page are encouraged.