FIPPLE See also:

• FLUTE

FLUTE See also:

• RECORDER
• FIPPLE FLUTE RECORDER

RECORDER  Or See also:

• ENGLISH

ENGLISH See also:

• FLUTE

FLUTE (Fr. fluted-bec, flfite See also:

• DOUCE, FRANCIS (1757-1834)

douce, flute anglaise or flute a neuf trous: Ger . See also:

• BLOCK
• BLOCK (from the Fr. bloc, and possibly connected with an Old Ger. Block, obstruction, cf. " baulk ")
• BLOCK, MAURICE (1816–19or)

Block- or Plockflote, Schnabelflole, Langflote; Ital. flauto deice, flauto diritto), a See also:

• MEDIEVAL

medieval flute, blown by means of a See also:

• WHISTLE

whistle See also:

• MOUTHPIECE (Fr. embouchure; Ger. Mundstuck; Ital. bocchino)

mouthpiece and held vertically in front of the performer like a See also:

• CLARINET
• CLARINET, or CLARIONET (Fr. clarinette; Ger. Clarinette, Klarinett; Ital. clarinetto, chiarinetto)

clarinet . The See also:

• RECORDER
• RECORDER, FIPPLE FLUTE

recorder only survives in the now almost obsolete See also:

• FLAGEOLET

flageolet and in the so-called See also:

• PENNY (Mid. Eng. peni or peny, from O. Eng. form penig, earlier penning and pending; the word appears in Ger. Pfennig and Du. penning; it has been connected with Du. pand, Ger. Pfand, and Eng. " pawn,". the word meaning a little pledge or token, or with G
• PENNY, GIANFRANCESCO (1488–1528)

penny-whistle . The recorder consisted of a wooden See also:

• TUBE (Lat. tuba)

tube, which was at first cylindrical or nearly so, but became, as the See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument See also:

• DEVELOPED

developed and improved, an inverted See also:

• CONE (Gr. Kwvos)

cone . The whistle mouthpiece has been traced in almost prehistoric times in See also:

• EGYPT

Egypt and other See also:

• ORIENTAL

Oriental countries . The principle of the whistle mouthpiece is based on that of the simplest flutes without embouchure, like the See also:

• EGYPTIAN

Egyptian See also:

• NAY, or NEY

nay, with this modification, that, in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to facilitate the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound, the See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air current, instead of being directed through See also:

• AMBIENT (from Lat. ambi, on both sides, and ire, to go)

ambient air to the See also:

• SHARP, GRANVILLE (1735-1813)
• SHARP, JAMES (1618-1679)
• SHARP, JOHN (1645-1714)
• SHARP, RICHARD (1759-1835)
• SHARP, WILLIAM (1749-1824)
• SHARP, WILLIAM (1856-1905)

sharp edge of the tube (or the lateral embouchure in the See also:

• MODERN

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 (a word common in various forms, to Teutonic languages, cf Ger. Lippe, Dan. laebe; Lat. labium is cognate)

lip or fipple cut into the See also:

• PIPE

pipe below the channel . This throws the air current into the See also:

• STATE
• STATE, GREAT OFFICERS OF

state of vibration required in order to generate sound-waves in the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main See also:

• COLUMN (Lat. columna)

column of air within the tube . The inverted cone of the See also:

• BORE

bore has the effect of softening the See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone of the recorder still further, earning for it the name of flute douce . Being so easy to See also:

• PLAY

play, the recorder always enjoyed See also:

• GREAT

great popularity in all countries until the greater possibilities of the transverse flute turned the See also:

• TIDE (O. Eng. lid, cf. Ger. Zeit, time or season, connected with root of Sanskrit a-diti, endless)

tide against it . The want of See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character which distinguishes the timbre of the whistle-flute is due to the paucity of See also:

• HARMONIC

harmonic overtones in the clang . The recorder had seven holes in front and one at the back for the thumb .

As See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long as the tube was made in one piece the lowest hole stopped by the little See also:

• FINGER

finger was generally made in duplicate to serve equally well for right- and See also:

• LEFT

left-handed players, the unused hole being stopped with See also:

• WAX

wax . Being an open pipe, the recorder could overblow the See also:

• OCTAVE (from Lat. octavus, eighth, octo, eight)

octave and even the two following harmonics (i.e. the twelfth and second. octave) . The holes produced the diatonic See also:

• SCALE
• SCALE (1) A

scale, and by means of harmonics and See also:

• CROSS

cross-fingering the second and See also:

• PART

part of a third octave were obtained . The recorder is described and figured by See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian Virdung, See also:

• MARTIN (Martinus)
• MARTIN, BON LOUIS HENRI (1810-1883)
• MARTIN, CLAUD (1735-1800)
• MARTIN, FRANCOIS XAVIER (1762-1846)
• MARTIN, HOMER DODGE (1836-1897)
• MARTIN, JOHN (1789-1854)
• MARTIN, LUTHER (1748-1826)
• MARTIN, SIR THEODORE (1816-1909)
• MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
• MARTIN, ST (c. 316-400)
• MARTIN, WILLIAM (1767-1810)

Martin See also:

• AGRICOLA (originally SCHNEIDER, then SCHNITTER), JOHANNES (1494-1566)
• AGRICOLA (the Latinized form of the name BAUER), GEORG (1490-1555)
• AGRICOLA, CHRISTOPH LUDWIG (1667-1719)
• AGRICOLA, GNAEUS JULIUS (A.D. 37-93)
• AGRICOLA, JOHANN FRIEDRICH (1720-1774)
• AGRICOLA, MARTIN (c. 1500-1556)
• AGRICOLA, RODOLPHUS (properly ROELOF HUYSMANN) (1443-1485)

Agricola and Ottmar Luscinius in the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, and by See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

Michael See also:

• PRAETORIUS, MICHAEL (1571_1621)

Praetorius and Marin See also:

• MERSENNE, MARIN

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
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass . The lowest notes of the large flutes were provided with keys enclosed in perforated wooden or See also:

• BRASS
• BRASS (O. Eng. braes)

brass cases, which served to protect the mechanism, as yet somewhat See also:

• PRIMITIVE

primitive; the keys usually had See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch pieces to suit right- or left-handed players . There are at least two See also:

• FINE

fine sets of recorders extant : one is pre-served in the Germanisches Museum at See also:

• NUREMBERG (Ger. Nurnberg)

Nuremberg, consisting of eight flutes in a See also:

• CASE
• CASE, JOHN (d. 1600)

case and dating from the 17th century; the other is the See also:

• CHESTER
• CHESTER, EARLS OF

Chester set of four 18th-century See also:

• INSTRUMENTS

instruments, which are fully described and illustrated in a See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper by See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph C . See also:

• BRIDGE

Bridge.' The recorder has been immortalized by See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare in the famous See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene in See also:

• HAMLET

Hamlet (II . 3), which has been treated from the musical point of view in an excellent and carefully written See also:

• ARTICLE (from Lat. articulus, a joint)

article by See also:

• CHRISTOPHER, SAINT (Christophorus, Christoferus)

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

tabor (Fr. galoubet; Ger . Stamentienpfeiff or Schwegel), which had but three holes, belongs to the same See also:

• FAMILY

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

Mus . Assoc., See also:

• LONDON

London, 1901. z " Hamlet and the Recorder," ibid., 1902 and 1898 .