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Extended Recorder Technique

Preprint · July 2019

DOI: 10.13140/RG.2.2.31866.24006

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Introduction

Much of the historic repertoire used by recorder players since the instrument’s revival in the
20th century dates from the baroque with its use of ornamentation. However, in 1964,
Michael Vetter did an exhaustive exploration of the possibilities of the recorder beyond
those generally believed to exist. His work was published in 1969 entitled If flauto dolce ed
acerbo (Vetter 1974). In 1966, Luciano Berio wrote Gesti, a composition for alto recorder
that required techniques not then used in the 20th century (Berio 1966). These two works
initiated what is now referred to as “extended recorder technique”.

Figure 1: Cross section of the mouthpiece

(https://upload.wikimedia.org/wikipedia/commons/thumb/7/7d/Recorder300.svg/1280px-
Recorder300.svg.png)

Figure 1 is a diagrammatic representation of a cross section of the mouth piece of a

recorder. The recorder is a member of the fipple flute family, fipple flutes being defined by
the production of sound when air is directed through a constricted passage (B) towards the
labium (C). In the recorder, constriction is by means of the block (A). In spite of the
constricted passage, there is virtually no resistance to the air, making the recorder both
easily accessible – blow and a note is produced – and extremely responsive to any changes
in air pressure. When the airstream hits the labium, it begins to oscillate and interact with
the air column within the instrument. Philippe Bolton has described on his website in some
detail how the vibrating air column can be used to produce different notes on the recorder
by opening and closing fingerholes in the body of the instrument (Bolton n.d.).

This sensitivity to air pressure prevents the recorder having a wide dynamic range if played
with normal fingerings and breath pressure. This has been seen as a disadvantage.
However, by using altered fingerings and changes in breath pressure, a full range of

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dynamics is possible although the timbre of any note may differ from that produced by the
standard fingering – a factor that has been capitalised on by some composers.

Conversely, a positive feature of such sensitivity to air pressure does make the instrument
particularly capable of playing multiphonics. These can be produced by increasing the air
pressure entering the instrument until the note “breaks” to a higher pitch. Both
fundamental and one or more harmonic notes are heard as equivalent when the breath
pressure is controlled carefully. The production of multiphonics is largely unique to any
particular instrument and has been used extensively in many compositions.

A critical factor in obtaining the required sound is what is happening within the mouth of
the recorder player. Tonguing technique to a large extent determines which octave is
played for any given fingering along with the addition of the use of the thumb hole to the
rear of the instrument – that there is a thumb hole determines this fipple flute being
classified as a recorder. The judicious use of a chosen tongued syllable can determine
whether a passage is heard as loud or soft.

Demonstration of techniques

The virtuoso recorder player and professor at Amsterdam Conservatory, Jorge Isaac, has
produced a video which gives a good overview of extended recorder techniques. The
specific techniques he demonstrates are delineated in Table 1 which is adapted from the
details he provides with his video.

However, “nothing is new under the sun” writes Nicholas Lander on his webpage. He cites
Samuel Pepys (1669) as playing two instruments simultaneously, Claudio Sebastiani (1563)
playing and humming different parts on a wind instrument and Zacharias Conrad von
Uffenbach (1710) describing having heard a recorder sounding like a transverse flute and
bagpipe drone (Lander n.d. Extended technique).

Higbee discusses what is now regarded as the extended range of the instrument in Ganassi’s
Fontegara (1535), Majer’s Museum Musicum (1732), and the works of Thomas Stanesby Jr.
(circa 1732), Minguet y Yrol (1754) and Reynvaan (1795) (Higbee 1962). Miller discusses the

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Table 1: Extended recorder techniques demonstrated by Jorge Isaac.

TECHNIQUES POSITION IN VIDEO

Instrument family - 0:05
Vibrato - 5:05
Breath vibrato 5:21
Finger vibrato 5:35
Tongue vibrato 6:24
Labium vibrato 7:02
Shake vibrato 7:38
Lip vibrato 8:20
Throat vibrato (chevroter) 8:45
Stick vibrato 9:20
Articulation - 10:01
Flutter-tonguing 11:22
Articulation effects 12:36
Use of consonants 14:13
Ha’t articulation 14:57
Dynamics - 15:28
Glissando - 17:00
Glissando north-south-east-west 17:40
Glissando turning the instrument 18:06
Glissando lifting the fingers 18:30
Glissando using the labium 18:47
Multiphonics - 19:04
Humming (singing while playing) 20:20
Air effects Wind sounds 22:21
Alternative wind effects 23:24
Tapping sounds - 23:45
Simultaneous - 24:37
Bird sounds Squeak 25:26
Wipe trill - 25:59
Circular breathing - 26:26
Head-joint effects - 28:10
Prepared instruments - 28:47
Instruments Early music vs new music 29:45
Square instruments e.g. Paetzold 31:08

use of microtonal tuning by Nicola Vincentino who divided the octave into 31 parts and
designed a harpsichord to that tuning (Miller 2011).

Peter Bowman in his thesis Microtonality and the Recorder 1961 - 2013 has surveyed some
of the renaissance treatises for the expectations of instrumentalists during the renaissance
and has shown that the techniques generally believed to have been ‘discovered’ in the
twentieth century are better described as ‘rediscovered’ (Bowman 2014, 30-32). Table 2 is
a list constructed from Bowman’s work.

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Other writers Bowman refers to that are not included in table 2 are Virdung (1511), Agricola
(1528), Bismantova and Ferrara (1677).

Table 2 Renaissance extended techniques

WRITER EXTENDED TECHNIQUE

Ganassi (1535)
Cardanus (1546)
Bottrigari (1594)
Dynamic range
Variety of tonal colours including by leaking and shading holes
Vowel sounds
‘Subtle expressive nuance of the human voice’
Trilling including narrow trills of a minor second and whole tone
and wide trills of a minor or major third.
Varying the width of intervals ‘a little more or less’
Controlling intonation by closing the bell hole
Shading the bell to change the pitch
Varying the position of the tongue in the mouth
Vibrato by repercussively bending back the tongue
Playing very small intervals
Playing in tune by breath control
Shading finger-holes

Publications about extended recorder techniques

Several recorder players have written about these techniques. The division of techniques
used for the section on how to play these is loosely based on Eve O’Kelly’s book The
Recorder Today published in 1990. Around a half of the book addresses the modern
repertoire and she includes many examples of the techniques she discusses (O’Kelly 1990).
In contrast to O’Kelly’s multiple divisions of techniques, Vetter’s work has only four
technical divisions. He also includes references to many examples (Vetter 1974). The most
recent work to be produced on extended technique appears to be the online Recorder Map
and associate website Recorderology. This is a current and on-going research project of the
Hochschule für Musik in Basel, Switzerland. It describes the extended techniques possible
by splitting them into four groups, air, mouth, fingers and a catch-all ‘others’ group with
examples of each technique.

In 1985, Ian Shanahan presented his B.Mus. thesis on The Avant Garde Recorder which
included a list of extended techniques as an appendix (Shanahan 1985, 145-148). He
produced an even larger list for his PhD thesis, Recorder Unlimited, in 1993 based on the
original list (Shanahan 1993, 318-329). A combination of the two lists is included as the
Appendix which is based on that which he produced for his second thesis. Where there is

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discrepancy in the two lists, the B.Mus. version is in brackets. Unlike the publications
discussed above and as both of his theses are concerned with multiphonics, he does not cite
examples of most techniques.

Bowman explores the use of alternative fingerings in his PhD thesis with a specific emphasis
on tone colour (Bowman 2014). Walter van Hauwe has written a three volume tutor The
Modern Recorder Player, for alto recorder (Hauwe 1992) and Guus Haverkate has written 12
Advanced Studies in Recorder Technique for Descant Recorder (Haverkate 1973). Both of
these provide practice opportunities. Sarah Jeffery is currently producing a series of videos
which demonstrate and teach many of the techniques and these can be accessed on
YouTube.

Finally, The Modern Recorder is a YouTube channel which showcases modern music with the
video following the score of the music as it is played.

Notating extended techniques.

There is limited agreement on how the extended techniques expected of instrumentalists

can be notated as discussed by Peter Wells (Wells 2000). Orpheus Music has an online
publication A Composer’s Guide to Writing for the Recorder which includes the illustration of
the more common techniques
composers ask for including microtones,
non-specific pitches, multiphonics and
percussive effects (Orpheus n.d.).
However, most composers include a key
to the symbols they use. Six works will
illustrate some of the complexities of
this topic.

1. Berio’s Geste uses symbols for what

he wishes the mouth of the
instrumentalist to do but text to explain
what he wishes from the
instrumentalist’s fingering. As can be Figure 2: Preface to Berio’s Geste

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seen in Figure 2, Berio’s specifications include a wide range of dynamics, vocal sound,
breathy and throat flutter-tonguing and inhaling (Berio 1966, 3).

2. Andriessen’s Sweet was written in 1972. His note on the performance of the piece, Figure
3, includes a symbol for accelerando, symbols for the tonguing he wishes and where he does
not wish the performer to use vibrato. His use of symbols is markedly different from that of
Berio and this proves to be a continuing theme (Andriessen 1972, 1).

Figure 3: Note to Andriessen’s Sweet

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3. Two years later, in 1974, Vetter published the joint German / English version of Il flauto
dolce ed acerbo. Perhaps because this is a tutor rather than a composition, his use of
symbols is very different. Figure 4 shows they include specifications for harmonics and
chords. He also includes instructions when the end hole should be closed, when holes
should be leaked, and symbols for white noise and microtones (out of tune notes) (Vetter
1974, 10). Later in the work, he includes a chart of the symbols used by other composers in
his examples which can be found later in this section as Figure 8 (Vetter 1974, 54).

Figure 4: Abbreviations and Symbols in Vetter Il flauto dolce ed acerbo

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4. Thorn’s The Voice of the Crocodile was written more than a decade later in 1988. Again
there is only a passing resemblance to other composers’ notation. Thorn includes symbols
for multiphonics, flutter-tonguing, approximate pitch, approximate course of a melody and
rough, uneven glissando with flutter-tonguing as shown in Figure 5 (Thorn 1988, 3).

Figure 5: Performance Notes for Thorn’s The Voice of the Crocodile

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5. There are extensive playing instructions for each of the seven solo pieces that
Zahnhausen wrote, also starting in 1988 and completed in 1990 (Zahnhausen 1990, 4-5).
This is in addition to the notation he uses which is shown in Figure 6 where he specifies
duration of notes, glissandos, pauses, flutter-tonguing and finger vibrato (Zahnhausen 1990,
3).

Figure 6 Playing instructions for Zahnhausen’s Flauto Dolce Solo

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6. In the last of these examined compositions is İcaro, another composition from 1990, by
Lara who used yet further notation symbols to specify glissandos, hummed tones, sputato,
flutter-tonguing and vibrato. His explanation of signs is included as figure 7 (Lara 1990, 3).

Figure 7: Explanation of signs for Lara’s İcaro

Figure 8 is the symbols Vetter records for the examples he uses in his book. The examples
are listed in table 3 (Vetter 1974, 54).

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Figure 8: Abbreviations used in the Examples from Vetter’s book

Table 3: Examples Vetter uses

COMPOSER COMPOSITION COMPOSER COMPOSITION

Badings Sonate Hand Sonatina
Baur Incontri Jacobi Fünf Studien
Mutazioni
Berkeley Sonatina Kelterborn Scènes fugitives
Britten Alpine Suite Rofseling Sonate II
Cooke Concerti Seiber Pastorale
Suite 1960
Du Bois Muziek Sehlbach Kammerkonzert
Pastorale VII
Spiel und Zwischenspiel
Flothuis Cantinena e Ritmi Stravinsky Lullaby
Genzmer Sonate

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Playing extended techniques

1. Non-standard fingerings

Non-standard fingerings can be divided, firstly, into those that produce primarily single
sounds, although each note is coloured by accompanying harmonics, and, secondly, those
that produce multiphonic sounds where the harmonics are emphasised to produce a
complex mix consisting of two or more identifiable pitches.

Recorders are tuned to produce an even tone with standard fingerings at usual breath
pressure. To increase the rather limited dynamic range of the instrument, altered fingerings
can be employed. Thus, shading a lower hole will flatten a note which can then be brought
back in tune by increasing the breath pressure.

Analogous is the leaking from one of the fingered holes to sharpen a note and bringing that
back in tune by lowering the breath pressure. If the breath pressure is dropped sufficiently,
a few fingerings produce flageolet tones or true harmonics. Microtones are produced by
shading or leaking while maintaining the breath pressure.

Since most non-standard fingerings alter the timbre of the note, they can be used to
introduce variety and interest.

Table 4 shows the uses of non-standard fingerings recognised by O’Kelly (O’Kelly, 1990, 82-
90), Vetter (Vetter 1974, 13-51), the Recorder Map and Hauwes (Hauwes 1992, 21-32) along
with examples of where they have been used.

Jeffery has produced a video on alternative fingerings in which she demonstrates some of
the resultant sounds and teaches how to work with these, and a further video on closing the
end hole.

Haverkate in his 12 Advanced Studies in Recorder Technique provides practice of some of

these techniques. Numbers 2, 3, 4, 9 and 12 all use alternative fingerings whereas number 5
addresses multiphonics, and numbers 8 and 12 use microtones (Haverkate 1973).

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2. Other fingering techniques

Other techniques which are based on finger movement include glissando, random finger-
play and trilling.

Table 4 Non-standard fingerings

NON-STANDARD FINGERINGS EXAMPLES

Kelly a. Single sounds - 1. Dynamic variation 1. Rechberger (1987)
2. Timbre variation 2. Linde Music for a bird
Heider Katalog
3. Harmonics 3. Braun Monologe I
du Bois Pastorale II
4. Microtones 4. Hekster Encounter
Shinohara Fragmente
Casken Thymehaze
b. Multiphonics b. Baur Mutazioni
Serocki Arrangements
Vetter Harmonic chords Baur Mutazioni
Du Bois Spiel und Zwischenspiel
Du Bois Pastorale VII
Recorder a. Air pressure a. Puzo oscillation ou interstice
Map Schiess 11 estaciones
b. Microtonality – 1. Air b.1. Puzo oscillation ou interstice
Schiess 11 estaciones
2. Fingers 2. Puzo oscillation ou interstice
Khrust Substitutions
c. Multiphonics – 1. Air c.1. Bages Metamorphae
Puzo oscillation ou interstice
Schiess 11 estaciones
2. Fingers 2. Bages Metamorphae
Gysin Flurin
Fujikura Perla
Svetlichny Identity
Hauwe a. Micro-intervals a. Masumoto Pastorale
b. Ambitus b. Mabry 21.5.83
c. Berio Gesti

Glissando is the sliding from one note to another either above or below the original note. It
is executed by progressively opening or closing the holes in such a way, between the original
and final notes, to produce a continuous tone. This can be achieved in various ways which
include sliding fingers off or on holes, by lifting each finger off or on each hole very slowly,
or by rolling the instrument. A glissando is also possible by occluding the labium. However,
this last technique limits the notes that can be played to those requiring only one hand
unless a one-handed recorder, which allows all notes to be fingered, is available.

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Random finger-play involves opening and closing holes in a non-defined order while either
blowing or not blowing through the instrument. The latter produces a sound because
tapping the finger-holes or hitting any keys has a percussive effect.

Trills are a mainstay of traditional recorder playing. However, in addition to conventional

trilling between scalar notes, trills can be between microtones or between two notes
separated by more than a tone.

Table 5 shows the uses of other fingering techniques.

Table 5 Other fingering techniques

OTHER FINGERING TECHNIQUES EXAMPLES

Kelly a. Glissando a. du Bois Pastorale VII
Moser Arune
Rechberger Consort Music
b. Rustle tones b. du Bois Muziek
Hirose Lamentation
c. Random finger-play c. Linde Amarilli mia bella
Andriessen Sweet
Hirose Lamentation
Serocki Arrangements
Vetter a. Finger variations a. Baur Mutazioni
b. Glissando b. Du Bois Pastorale VII
Du Bois Spiel und Zwischenspiel
Du Bois Muziek
Recorder a. Air glissando a. Lautour Piteous Rodents
Map Puzo oscillation ou interstice
Takahashi surge
b. Finger glissando b. Gysin Flurin
Kittos Hectic
Dorwarth Traumvogel
Hauwe a. Glissando a. Shinohara Fragmente
b. Fast irregular intervals b. Andriessen Sweet
Shinohara Fragmente

Jeffery has also produced a video on trills but, although it contains much useful information
for contemporary recorder playing, she concentrates on baroque ornamentation. Number 1
of Haverkate’s studies requires finger glissando (Haverkate 1973).

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3. Articulation

While articulation is second nature to the recorder player, the familiar techniques of single-,
double-, triple- and flutter-tonguing have all been explored in greater detail. Shanahan has,
in particular, produced an extensive and comprehensive list of articulation possibilities which
includes details of the consonants based on the part of the mouth that is used (Shanahan 1993, 32-
33). Table 6 is adapted from Shanahan’s work.

Table 6 Shanahan’s list of articulations

TYPE VOCAL
Consonantal 1. Alveolar 1. t, d, n
2. Guttural 2. k, c, ck, g, ng (as in ‘thing’)
3. Aspirant 3. h
4. Semivocal 4. l, r (as in ‘rat’)
5. Longitudinal 5. (tongue-tip to / from the
instrument’s airway opening)
6. Labial 6. p, b, m, w (as in ‘wig’)
7. Palatal 7. y (as in ‘you’)
8. Fricative 8. f, v, th, (as in ‘thin’), dh (as in ‘this’)
9. Sibilant 9. s, z, sh, zh (as in ‘vision’)
10 ‘Reflex’ 10. ttl (as in ‘little’), ddl (as in meddle’),
nnl (as in ‘tunnel’)
Coarticulations 1. Alveolar + sibilant 1. ts, tz, ch=tsh (as in ‘chill’), tzh, ds, dz,
and ‘words’ dsh, j=dzh (as in ‘jaw), etc.
2. Guttural + fricative 2. kf, kv, kth, kdh, etc.
3. Guttural + sibilant 3. x=ks (as in ‘xenon’ or ‘sacks’), ksh (as
in ‘reaction’), etc.
4. Labial + fricative 4. pf (as in ‘pfennig’), pv, bf, bv, etc.
5. Sibilant + sibilant 5. ssh, shs, etc.
6. Guttural + labial 6. q=kw (as in ‘quick’), etc
7. Sibilant + labial 7. e.g. sp
8. Alveolar + semivocal 8. e.g. dl
9. Labial + semivocal 9. e.g. pl
10. Labial + fricative 10. e.g. pth
11. Sibilant + fricative 11. e.g. sf
12. Guttural + labial 12. e.g. kp
13. ‘Triarticulations’ 13. e.g. kssh
14. Compounded into -
‘words’

Flutter-tonguing is a specific type of articulation which requires the rapid and repeated
stopping of the air-flow and it can be executed in two ways, dental or uvular. Dental flutter-

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Table 7 Articulation

ARTICULATION EXAMPLES
Kelly a. Single-tonguing a. Heider Katalog
Linde Music for a bird
Lechner Spuren im Sand
Lechner Varianti
Riehm Gebräuchliches
b. Double- and triple-tonguing b. Lechner Spuren im Sand
Lechner Varianti
c. Flutter-tonguing c. du Bois Muziek
Braun Minimal Music II
Vetter a. dental i.e. flutter-tonguing
b. guttural 1. Double-tonguing 1. Baur Incontri
2. Triple-tonguing Berkeley Sonatina
3. Aspirated attack Badings Sonate
4. Lip attack Britten Alpine Suite
2. Baur Incontri
Cooke Concerto 1st movement
2nd movement
3rd movement
c. Legato i.e. finger- articulation c. Cooke Suite 1960
Strawinsky Lullaby
Seiber Pastorale
Baur Mutazioni
Du Bois Muziek
d. Non-legato or recorder legato d. Baur Mutazioni
Flothuis Cantilena e Ritmi
Rofseling Sonate II
e. Portato e. Genzmer Sonate
f. Staccato f. Du Bois Spiel und Zwischenspiel
Jacobi Fünf Studien
Hand Sonatina
g. Marcato g. Baur Incontri
Cooke Concerto 1st movement
2nd movement
3rd movement
Britten Alpine Suite
h. Staccatissimo
i. Sputato i. Du Bois Pastorale VII
Jacobi Fünf Studien
Recorder a. Flutter tonguing a. Gysin Flurin
Map b. Sputato b. Gysin Flurin
Keller Ruh
c. Strong articulation c. Puzo oscillation ou interstice
Fujikura Perla
d. Glottis-embouchure d. Puzo oscillation ou interstice
Gysin Flurin
Bages I. Rubi meta-morphe
Hauwe a. The glottis a. van Roosendael Rotations
b. Gutteral flutter b. Berio Gesti
c. Tonguing c. Ishi Black Intention

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tonguing involves rolling the front of the tongue whereas uvular is a gargling motion of the
throat. Table 7 lists the different types of articulation recognised by O’Kelly (O’Kelly 1990,
91-93), Vetter (Vetter 1974, 59-64), the Recorder Map and Hauwe (Hauwe 1992 vol.1, 54-
72).

Jeffery has recorded a video on tonguing based on ‘ddl’ and a further video demonstrating
and teaching flutter-tonguing. Numbers 1, 9 and 12 of Haverkate’s studies need flutter-
tonguing, numbers 3 and 4 address articulation, and number 6 is concerned with triple
tonguing (Haverkate 1973).

4. Vibrato

This is another topic that is well known to the recorder player. The pitch of the held note is
slightly lowered and raised around the note in a regular fashion and these fluctuations can
be slow, fast or variable. Vetter describes the diaphragmatic vibrato as long-wave. He
distinguishes between natural throat vibrato which is short-wave, in contrast, and he
includes the forced throat vibrato, the chevroter or goat vibrato (Vetter 1974, 67-68).

Finger-vibrato or flattement is a technique which was developed in baroque French music.

It involves the slightly lowering of pitch repeatedly by shading a finger-hole beneath the
fingering being used for the note. Vetter describes this as a free-wave vibrato (Vetter 1974,
67-68).

In addition, contemporary music uses the rapid covering and uncovering of the labium to
produce a vibrato. Also, the end hole of the instrument can be used to produce a vibrato by
repeated occlusion to produce what O’Kelly calls knee vibrato (O’Kelly 1990, 94-96).
Shanahan describes three articulation-generated vibratos, namely tongue which is
described by Vetter as free-wave vibrato (Vetter 1964, 67-68), jaw and lip vibrato (or
smorzato), and cheek vibrato (Shanahan 1993, 324-325). Table 8 concerns the types and
examples of vibrato recognised by O’Kelly (O’Kelly 1990, 94-96), Vetter (Vetter 1974, 67-68)
and the Recorder Map.

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Haverkate’s study number 8 does not specify the type of vibrato he wishes although he does
specify finger vibrato in number 5. Jeffery’s video on this topic, while having some
relevance, concerns baroque vibrato.

Table 8 Vibrato

VIBRATO EXAMPLES
Kelly a. Diaphragm a. Gümbel Flotenstories I
Lechner Spuren im Sand
b. Throat b. du Bois Pastorale VII
c. Tongue c. Linde Märchen
d. Finger d. du Bois Muziek
e. Labium e. Linde Music for a bird
f. Knee f. Linde Consort Music
Vetter a. Diaphragm long-wave vibrato -
b. Natural throat short-wave vibrato -
c. Forced throat-vibrato c. Du Bois Pastorale VII
Du Bois Spiel und Zwischenspiel
d. Finger-vibrato, free-wave d. Du Bois Muziek
e. Tongue vibrato, free-wave e. Kelterborn Scène fugitives
Sehlbach Kammerkonzert
Du Bois Pastorale VII
Recorder a. Diaphragm vibrato a. Uzunselvi Asta Tushmaq
Map Lautour Piteous Rodents
Keller Ruh
b. Tongue vibrato b. Kittos Hectic
c. Chevroter c. Bois Pastorale VII
Riehm Weeds in Ophelia’s hair
d. Finger vibrato d. van Steenhoven Nachtzang
e. Lip vibrato e. Hirose Meditation
f. Labium vibrato f. Puzo oscillation ou interstice

5. Special effects

There are an enormous range of possibilities with the recorder with many in common with
other instruments. Only a small number can be covered here but the appendix of
Shanahan’s work addresses many more (Shanahan 1993, 326-329).

White noise is produced by overblowing, blowing into the labium or blowing across any
finger-hole.

Percussive effects can be produced by striking the instrument with a fingernail or ring, and
by slapping with the palm of the hand. A technique particular to the recorder is to sing with
or without words or syllables while playing. Other mouth sounds that can be used include
sucking, blowing, clicking, lip-smacking and kissing.

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Circular breathing is a technique which allows extended passages to be played without

interruption. It is physiologically not possible to inhale and exhale simultaneously.
However, the cheeks provide a cavity which can hold a reservoir of air – rather similar to the
way hamsters store food for transportation. While a sharp inhalation is executed through
the nose, the breath pressure through the instrument is maintained by contracting the
cheeks. O’Kelly (O’Kelly 1990, 97-111), Vetter (Vetter 1974), the Recorder Map and Hauwe
(Hauwe 1992 vol. 3) all recognise various special effects and these are in table 9.

Table 9 Special effects

SPECIAL EFFECTS EXAMPLES

Kelly a. White noise a. Hirose Lamentation
Gümbel Flotenstories VI
Leenhouts Report upon ‘When shall
the sun shine?’
b. Random finger-play b. Linde Amarilli mia bella
Andriessen Sweet
Hirose Lamentation
Serocki Arrangements
c. Percussive effects c. Ishi Black Intention
Braun Schattenbilder
Linde Märchen
Braun Minimal Music II
d. Circular breathing
e. Vocal effects e. Linde Amarilli mia bella
Linde Music for a bird
Ishi Black Intention
Lechner Varianti
Serocki Arrangements
Bank Die Ouwe
Braun Nachstücke
Eisma Hot, powdery stones
Hashagen Gardinenpredigt eines
Blockflötenspielers
f. Mouth sounds f. Braun Schattenbilder
Bussotti RARA
Braun Minimal Music II
Vetter a. Tone mixed with air a. Du Bois Muziek
b. Playing out of tune b. Du Bois Muziek
c. White noise Du Bois Spiel und Zwischenspiel
c. Baur Mutazioni
Du Bois Spiel und Zwischenspiel
Du Bois Pastorale VII
Recorder Map a. Air direction a. Takahashi surge
Hauwe a. Humming a. Ishi Black Intention

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Jeffery has produced two videos that address special effects. In the first, she demonstrates
singing and playing and, in the second, she demonstrates a modified version of circular
breathing which is very effective.

6. Structural modifications

The entire instrument need not always be used but such modifications require the
preparation of the instrument beforehand. The head section with or without the middle
section can be played when the foot-joint is removed. A flute body can be connected to the
head section or a brass instrument mouthpiece can be fitted to the body with or without
the foot-joint present in both cases. Where there are keys fitted, the foot-joint on its own
can be used to produce percussive sounds. The middle section with or without the foot-
joint will produce sound if the top is blown across or the finger holes are blown into. O’Kelly
describes some of these with examples and these are in table 10 (O’Kelly 1990, 111-113).

Jeffery uses some of these techniques interestingly when she teaches small children.

Table 10 Structural modifications

STRUCTURAL MODIFICATIONS EXAMPLES

Kelly a. To windway and labium a. Hirose Idyll I
b. To the pipe b. Braun Inmitten der Nacht
c. Foot-joint removed c. Hirose Lamentation
Braun Monologue I
d. Head-joint removed d. Braun Minimal Music II
e. Foot-joint alone e. Serocki Arrangements
f. Head-joint alone -

7. Two instruments simultaneously

The two instruments may be recorders at the same pitch or recorders at different pitches
such as an F and a C recorder or one pitched at A415 and the other at A440, or an F and G
recorder. Conversely, one of the instruments may be a different wind instrument with a
recorder. O’Kelly gives Ishii’s Black Intention (Ishii, 1976) and Andriessen’s Ende (Andriessen
1972) as examples of music where two recorders are played at the same time (O’Kelly 1990,
114-115).

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. . . . . and Jeffery has fun with these ideas.

Repertoire

The Stichting Blokfluit (Recorder Foundation), which was founded by Hauwe around 1988,
has published on the internet two catalogues of recorder music, the CHRR (Catalogue of
Historical Recorder Repertoire) and the CCBM (Catalogue of Contemporary Blockflute
Music). The CCBM had at the end of February this year, over six thousand titles attributed
to over 2000 composers. The Catalogue details the extended techniques used in a
substantial number of these titles and can be searched by the extended technique required
such as glissando, fluttertongue, multiphonics or circular breathing.

Further reading list

Andriessen, L. (1972). Sweet. London: Schott Music Ltd.
Berio, L. (1966). Gesti. London: Universal Edition.
Bowman, P. (2014). Microtonality and the recorder 1961-2013. PhD thesis. Canterbury
Christ Church University.
Bousted, D. (2002). Microtonality, the recorder and The Quarter-Tone Recorder Manual.
The Recorder Magazine, 2002 (Autumn): 99-102.
Fischer, J. (1990). Die dynamishe blockflöte. Celle: Moeck.
Griscom, R.W. and Lasocki, D. (2011). The recorder; a research and information guide. 3rd
edn. New York: Routledge.
Hauwe, W. (1992). The modern recorder player, 3 vols. London: Schott.
Haverkate, G. (1973). Twelve advanced studies in recorder-technique, 2 vols. Amsterdam:
Broekmans en van Poppel.
Higbee, D. S. (1962). Third-octave fingerings in eighteenth-century recorder charts. The
Galpin Society Journal, 15: 97-99.

Hotteterre, J. (1707). Principles of the flute, recorder and oboe. Trans. Lasoski, D. London:
Barrie & Rockliff.
Hunt, E. (1962). The recorder and its music. London: Ascot Press Ltd.
Ishii, M. (1976). Black intention. London: Schott Music.

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M1082897 Louise Guy A873-19J TMA 03

Lander, N.S. (n.d.) Recorder home page. http://www.recorderhomepage.net/ (accessed 5

March 2017).
Lara, A. (1990). İcaro. Celle: Moeck.
Linde, H.-M. (1974). The recorder player’s handbook, trans. Haden, J. London: Schott.
Mayer-Spohn, U. and Takahashi, K. (2016). Web application using Web Audio API for
Recorderology – research concerning playing techniques of recorders. In Freeman, J., Lerch,
A. and Paradis, M. (eds.) (2016). Proceedings of the 2nd Web Audio Converence (WAC-2016),
Atlanta. Available at https://smartech.gatech.edu/handle/1853/54593 (accessed 5 March
2017).
Miller, M. (2011). Nicola Vicentino and the enharmonic diesis: an analytical and empirical
study. Available at
file:///C:/Users/user/AppData/Local/Microsoft/Windows/INetCache/IE/18YO8YYW/Nicola%
20Vicentino%20and%20the%20enharmonic%20diesis%20an%20analytical%20and%20empir
ical%20study%20.pdf (accessed 7 March 2017).
O’Kelly, E. (1990). The recorder today. Cambridge: Cambridge University Press.
Orpheus Music. (n.d.). Glossary of unusual recorder techniques and notations.
http://www.orpheusmusic.com.au/content/9-glossary-of-unusual-recorder-techniques-and-
notations (accessed 5 March 2017).
Quantz, J.J. (1752). On playing the flute, trans. Reilly, E.B. London: Faber & Faber.
Rowland-Jones, A. (1986). Recorder technique. Oxford: Oxford University Press.
Rowland-Jones, A. (1992). Playing recorder sonatas. Oxford: Clarendon Press.
Rowland-Jones, A. (1995). A short history of partial venting. The Recorder Magazine. 1995
(June): 48-50.
Shanahan, I.L. (1985). The avant-garde recorder. B.Mus. thesis. University of Sydney.
Available at https://www.scribd.com/document/335424428/IAN-SHANAHAN-The-Avant-
Garde-Recorder-my-BMus-Hons-scanned-pdf (accessed 5 March 2017).
Shanahan, I.L. (1993) The recorder unlimited. PhD thesis. University of Sydney. Available
at https://www.scribd.com/document/335424463/IAN-SHANAHAN-Recorder-Unlimited-
my-MMus-Hons-PhD-Prelim-scanned-pdf (accessed 5 March 2017).
Thomson, J.M. (ed.) The Cambridge companion to the recorder. Cambridge: Cambridge
University Press.
Thorn, B. (1988). The voice of the crocodile. Celle: Moeck.
Tsoupaki, C. (1994). Charavgi. Celle: Moeck.
Vetter, M. (1974). Il flauto dolce ed acerbo. (English translation). Celle: Moeck.
Wells, P. (2000). Giving the fingers. The Recorder Magazine 2000 (Summer): 59-62.

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M1082897 Louise Guy A873-19J TMA 03

Wollitz, K. (1982). The recorder book. Hebden Bridge: Peacock Press, repr. 2007.
Zahnhausen, M. (1990). Flauto dolce. 7 stücke für altblockflöten solo. Vienna: Doblinger.

Websites
Bolton, P. http://www.flute-a-bec.com/acoustiquegb.html (accessed 6 March 2017)
Jeffery Sarah / Team Recorder. https://www.youtube.com/user/SarahBlokfluit/videos
(accessed 7 March 2017)
Modern Recorder (The). https://www.youtube.com/user/TheModernRecorder (accessed 7
March 2007).
Naxos. (n.d.). http://www.naxos.com/ (accessed 5 March 2017).
Recorder Home Page. (n.d.). http://www.recorderhomepage.net/ (accessed 5 March
2017).
Recorder Map. (2014). http://recordermap.com/ (accessed 5 March 2017).

Recorderology. (2016). http://recorderology.com/ (accessed 5 March 2017).

Stichting Blokfluit. (n.d.). http://www.blokfluit.org/ (accessed 5 March 2017).
YouTube. (n.d.). https://www.youtube.com/ (accessed 5 March 2017).

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APPENDIX
1. Single sonorities 1.1 Chromatic fingerings i.e. 12 tone equal temperament and other basic
consideration e.g. recorder acoustics, phrasing and breathing factors
(a) extended range above and below the traditional range
(b) timbral and dynamic possibilities
(c) natural harmonics
(d) undertones, air-noises and other noises
(e) closure i.e. airtight occlusion, coverage of the end of the foot joint with non-
airtight materials
(f) alternative fingering possibilities
1.2. Microtonal resources
(a) quartertone fingerings i.e. 24 tone equal temperament
(b) eighthtone fingerings i.e. 48 tone equal temperament
(c) fingerings for 31 tone, 19 tone and 43 tone equal temperament, etc.
(d) various other tuning systems e.g. just temperament, mean tone
temperament, Pythagorean temperament, Pythagorean temperament, etc.
(e) microtonal possibilities in any particular instrument
(f) timbral implications of microtonal fingerings
1.3 Trills (and tremolos)
(a) fingered trills of various intervals
(b) trills with the ‘wrong’ fingerings
(c) breath-generated trills
(d) ‘clicky’ trills
(e) double trills
(f) monophonic trills
1.4 Glissando, portamento, pitch-fluctuations and ‘slide trills’
(a) glissandi i.e. diatonic, chromatic, microtonal, etc.
(b) breath-pressure portamento
(c) fingered portamento
(d) pitch-fluctuations
(e) portamenti of fingered or breath-generated trills
(f) ‘slide trills’ i.e. from reiterated portamenti between two pitches
(g) finger-glides and finger-glide tremolo
(h) portamenti, pitch-fluctuations and slide trills by ‘rolling the instrument
1.5 Manipulation of the window (fingerings are limited to one hand only)
(a) portamenti, pitch fluctuations and slide trills by manipulations of the
window
(b) flattened pitches through covering the window
(c) extremely high pitches
1.6 Further monophonic technical resources
(a) blowing air into the windway at an angle
(b) reedy sonorities
(c) timbral and pitch changes through squeezing the foot-joint between the
thighs of the seated player
(d) whistle tones
(e) inhaled and exhaled arpeggio of partials by various means
(f) overblowing, and pitch-fall by underblowing
(g) clicking or slurping effects
(h) cap manipulations in an endblown bass instrument
(i) circular or cyclic breathing
2. Multiple 2.1 Multiphonics
sonorities (a) characteristics, categories and acoustics of multiphonics
(b) multiphonic trills
(c) multiphonic portamenti, pitch-fluctuations and slide trills
(d) spectral portamenti of multiphonics
(e) multiphonics generated by fluttertonguing breath generated trills
(f) multiphonics generated by squeezing the foot-joint between the thighs

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(g) whistle tone multiphonics

((h) multiphonic glissandi)
((i) spectral glissandi of multiphonics)
2.2 Combined vocal and instrumental sonorities
2.3 Whistling combined with instrumental sonorities
2.4 Playing more than one instrument simultaneously (fingerings are limited to one
hand only)
(a) use of one-handed recorders
(b) one instrument at different pitch or not of equal temperament
(c) use of other endblown fipple flutes e.g. tin whistle, flageolet, nose flutes,
swanee whistles, ocarinas, pitch-pipes, etc.
2.5 Phasing and interference effects with two instruments played simultaneously i.e.
difference tones
3. Articulation 3.1 Consonantal
(a) alveolar (dental) i.e. ‘t’, ‘d’, ‘n’
(b) guttural i.e. ‘k’, ‘c’, ‘ck’, ‘g’, ‘ng’
(c) aspirant i.e. ‘h’
(d) semivocal i.e. ‘l’, ‘r’
(e) longitudinal i.e. tongue-tip into and out of the beak’s opening
(f) labial (lip) i.e. ‘p’, ‘b’, ‘m’, ‘w’
(g) palatal i.e. ‘y’
(h) fricative i.e. ‘f’, ‘v’, ‘th’, ‘dh’
(i) sibilant i.e. ‘s’, ‘z’, ‘sh’, ‘zh’
(j) ‘reflex’ i.e. ‘ttl’, ‘ddl’, ‘nnl’
3.2 Vocal
3.3 Coarticulations i.e. when consonantal articulations are overlapped and ‘words’
(a) alveolar (dental) + sibilant i.e. ‘ts’, ‘tz’, ‘ch’ or tsh’, ‘tzg’, ‘ds’, ‘dz’, ‘dsh’, ‘j’ or
‘dzh’, etc.
(b) guttural + fricative i.e. ‘kf’, ‘kv’, ‘kth’, ‘kdh, etc.
(c) guttural + sibilant i.e. ‘x’ or ‘ks’, ‘ksh’, etc .
(d) labial + fricative i.e. ‘pf’, ‘pv’, ‘bf’, ‘bv’, etc.
(e) sibilant + sibilant i.e. ‘ssh’, ‘shs’, etc.
(f) guttural + labial i.e. ‘q’ or ‘kw’, etc.
(g) two attack articulations i.e. ‘sp’, ‘tl’, ‘dl’, ‘pl’, ‘pth’, ‘sf’, ‘gl’, ‘kp’, etc.
(h) triarticulations e.g. guttural + sibilant ‘ks’ or ‘x’ + sibilant ‘sh’
(i) linguistic vocables or otherwise to make the instrument ‘talk’
3.4 Rapid iterations
(a) multi-tonguing and tongue-tremolo
(b) alveolar and uvular fluttertonguing
3.5 Tongue-clicks and lip-smacks i.e. ‘kissing’ sounds
3.6 Inhaled and exhaled slaptongues
3.7 Sputato and diaphragmatic thrust
3.8 Cheekslap
4. Vibrato 4.1 Breath-generated
(a) diaphragm
(b) throat
(c) throat tremolo
(d) air-noises
4.2 Fingervibrato
(a) flattement (finger)
(b) timbral vibrato i.e. across registers
(c) undertone
(d) foot-joint
(e) ‘pivot’ i.e. by venting the thumb
(f) ‘rolling’ i.e. the instrument
(g) window
(h) ‘reedy’ i.e. by modulation of breath pressure

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(i) ‘squeeze’ i.e. repeatedly sqeezing and releasing the foot-joint

4.3 Articulation-generated
(a) tongue i.e. by reiteration of semivocal, palatal or sibilant articulations
(b) jaw and labial (lip) - smorzato
(c) cheek
5. Breath-sonorities 5.1 Air-noises in general
(a) quasi-speech effects
(b) breath-sonority vibrati
(c) manipulations of the window
(d) inhaled and exhaled breath-sonorities
5.2 Sustained fricative or sibilant sounds
5.3 Wind Rush or ‘white noise’
6. Percussion 6.1 Fingerslapping
sonorities 6.2 Key-slaps, key-clicks and key-rattles
6.3 Percussion on the foot-joint of the recorder
(a) fingerslapping the end of the instrument’s bore
(b) striking the foot-joint with the palm of the hand, cupped hand, etc.
6.4 Percussion on the body of the recorder
6.5 Miscellaneous possibilities
(a) using plastic or metal recorders
(b) window-slaps
7. Other possibilities 7.1 Other vocal i.e. whistling, screams, shouts, ‘ animal sounds’, ‘vocal multiphonics’
7.2 The prepared recorder
(a) muted
(b) covering fingerholes with cloth
(c) using mouthpieces or reeds from other instruments
(d) physical extensions
(e) ‘pulling out’ the headpiece and/or foot-joint to detune it
(f) using plastic or metal recorders
7.3 Aleatoric techniques i.e. yielding chaotic, random and unpredictable results
(a) non-coordinated techniques
(b) random finger movement
(c) random air-flow changes
(d) random articulation
(e) unstable fingerings
7.4 The electric recorder
(a) amplified
(b) interfacing with electronic sound-transformation apliances and digital or
computer technologies
7.5 Further acoustic considerations
(a) instrument’s sound radiation characteristics
(b) reverberation effects
(c) spatial manipulations e.g. Doppler shifts, varying direction
(d) using other instruments resonance characteristics e.g. playing into an open
piano
8. Using separate 8.1 Using part of the recorder including the use of a brass mouthpiece
sections of the (a) Headjoint alone
recorder (b) Foot-joint alone
(c) Headjoint and middlejoint together
(d) Middlejoint and foot-joint together

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