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Post by Misty on Feb 15, 2023 20:01:40 GMT
That sounds seriously challenging, Zi! (Perhaps something to put on the back burner...)
Okay, first look at Van Eyck. Daphne is lovely, and I think I'd like to start by looking more at numbers 13, 17 and 26 as well. There are an awful lot of G minor and F major key signatures, aren't there? I wonder why. However, it will get my working on that bottom F.
And oh - look - breves! But what a funny way of writing them, with a stem. And that time signature in number 12....not to mention one or two others...!
This will keep me busy for a good while. I might take it to my recorder lesson next week.
Zi, re your comment above: my teacher doesn't really choose for me. She gives me fairly free reign over repertoire choice and lets me be self-directed up to a point which is good. But she does put some things in front of me (notably technique stuff and studies) which are quite challenging. I'm sure if I had less idea of what I'd like to play, though, she would make choices for me. And she does like her scales, but I don't mind doing scales either, so I'm fine with that.
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Post by Zi on Feb 15, 2023 21:41:34 GMT
Daphne is lovely. I can manage it up to a point on the descant but have never tried it on the treble... The Prins Robberts Masco drops you into bottom F from a bit of a height and those high, low leaps can be a real issue. I didn't go further than modo 3 and by that time I was a bit challenged! Your teacher sounds nice - as if she'll take charge if necessary. I still think it's nice to have someone to suggest things and to sometimes push one out of the comfort zone. My teacher would do that. But she'd also stop me from beating myself up. I was pretty good at that! I'm glad you're pleased with the Van Eyck. The other book I mention looks a bit of a challenge at first glance - I haven't looked at it properly yet because today I've been working on the Van Eyck and I haven't got much else done. Even the harp was abandoned today.
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Post by Misty on Feb 16, 2023 13:07:16 GMT
I will have a look at The Prins Robberts Masco on my tenor - but maybe not today as I am recuperating from a particularly hefty migraine which started at 3.30 am. My brain connections are shot. At least I managed recorder yesterday and did a little consolidation on harp too. All activities today are highly questionable, and I am due to teach at 4 pm...but I think I could manage to locate the book and put a marker on the page to remind myself.
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Post by Zi on Feb 16, 2023 13:38:24 GMT
Misty - get better soon! Healing thoughts winging their way!
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Post by Zi on Feb 17, 2023 10:15:38 GMT
Misty - when you're up to it, there's a recording here on descant...
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Post by Misty on Feb 17, 2023 19:03:39 GMT
Thanks for that, Zi. I had to cancel my teaching yesterday as I couldn't string two coherent thoughts together, but am feeling much better today and have taught my pupil this afternoon instead.
I tried the Daphne out again, struggled through Modo 2 and attempted Modo 3, but it ground to a shaky halt! Obviously the P word is going to be essential.
Which book is Prins Robberts Masco in? I had a quick glance through two of the books but couldn't find it, then ran out of time. (My time management is not noted for its efficiency!)
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Post by Zi on Feb 18, 2023 8:58:37 GMT
Misty, I'm glad you're feeling better! It's not just the migraine, it's the feelings you get left with for a few days afterwards so I'm glad that you're definitely improving!
Prins Robberrts Masco is: alto/treble version on pp 33-4. descant is Book II pp 44-45 - I have the Amadeus version of Der Fluyten Lust-hof.
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Post by Misty on Feb 28, 2023 17:25:24 GMT
Anyone playing Wolsey's Wilde? (Zi, I think you may have metnioned it recently?) I'm practising it on alto for G3, and the book I'm using is Music for the Treble Recorder, and I absolutely love it. The issue is with the instruction in my book which says non legato, but my teacher has said I should aim for legato quavers. I can't check with her because my lesson today was cancelled, and we're not sure when we'll be able to get together again. Certainly some of the notes should be quite staccato, and we've pencilled them in, but this direction would suggest that the whole thing needs to be fairly spiky.
Could anyone share any thoughts on this?
A second query is about teeth, or more specifically, cleaning them prior to practice. I will freely admit I don't always do this, and no-one has ever told me I should. Then my teacher sent me a swatch of Sarah Jeffries' youtube video-thingies, one of which mentioned that one should always do this. Do any recorder players on this forum do this as a regular pre-practice thing? Should one, or does it not matter too much?
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Post by Zi on Feb 28, 2023 18:19:24 GMT
Anyone playing Wolsey's Wilde? (Zi, I think you may have metnioned it recently?) I'm practising it on alto for G3, and the book I'm using is Music for the Treble Recorder, and I absolutely love it. The issue is with the instruction in my book which says non legato, but my teacher has said I should aim for legato quavers. I can't check with her because my lesson today was cancelled, and we're not sure when we'll be able to get together again. Certainly some of the notes should be quite staccato, and we've pencilled them in, but this direction would suggest that the whole thing needs to be fairly spiky. Could anyone share any thoughts on this? I'm just looking at the descant version in Renaissance Recorder Anthology 2 and there are no directions at all. The Trinity G2 and 3 book doesn't have directions either (descant version). I'm not sure where else to look. I did play the descant version with my teacher and she's written stuff but nowhere has she said either legato or staccato. I would have thought though it's meant to be quite punchy... I've just played it through from the Renaissance Recorder Anthology and that's certainly my approach however, it was in a different key there. I do have a audio file with the RRA2 book but it's a download one so I'm just downloading now... I'll say something once it's downloaded and I've managed to listen. Yes, I love it! One of my definite faves! A second query is about teeth, or more specifically, cleaning them prior to practice. I will freely admit I don't always do this, and no-one has ever told me I should. Then my teacher sent me a swatch of Sarah Jeffries' youtube video-thingies, one of which mentioned that one should always do this. Do any recorder players on this forum do this as a regular pre-practice thing? Should one, or does it not matter too much? Yes. Clean if possible. If not rinse mouth with water. I remember someone (John from Saunder's recorders?) saying not to drink milky drinks beforehand. The problem will be stuff getting into the mouthpiece. With plastic, it doesn't matter - you can wash it in warm soapy water but wooden is a different matter. Some people wash those too but I'd be very nervous of doing that to wood and the mouthpieces need very delicate handing. I've read somewhere about cleaning them with a feather... Can't remember where that was.
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Post by pavane on Feb 28, 2023 18:37:34 GMT
I know nothing of the piece of music so can't comment on that.
I do (pretty much) always clean my teeth before playing - as Zi says, it saves you from blowing food fragments into the recorder. I try to do it at least 15 mins before and drink water in between or I'm blowing toothpaste into it instead of food, plus my mouth is drier(?) just after I've done my teeth so it's less comfortable. I also read that you shouldn't play immediately after using mouthwash as then you're blowing something fairly acidic down it, I don't know if that is true or not.
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Post by Zi on Feb 28, 2023 18:55:47 GMT
Misty - Just listened to the RRA version and it's accompanied by the harpsichord which is very percussive so it's a bit different from playing it unaccompanied. The recorder (in the audio) is more legato than I'd be. I'd make it punchy but I'd put in some contrast. So, for example in bars 13 to 16 where there are crotchets followed by minims - staccato those crotchets at the start of each bar to emphasise the beat. The batches of quavers you could have fun with either taking them legato the first time and then staccato the second (or the other way round) just to make a contrast.
I hope someone much more knowledgeable comes along!
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Post by Misty on Feb 28, 2023 19:30:40 GMT
Misty - Just listened to the RRA version and it's accompanied by the harpsichord which is very percussive so it's a bit different from playing it unaccompanied. The recorder (in the audio) is more legato than I'd be. I'd make it punchy but I'd put in some contrast. So, for example in bars 13 to 16 where there are crotchets followed by minims - staccato those crotchets at the start of each bar to emphasise the beat. The batches of quavers you could have fun with either taking them legato the first time and then staccato the second (or the other way round) just to make a contrast. I hope someone much more knowledgeable comes along!
I thought it was you who was playing it, Zi, and thanks for your reply. Yes, it makes sense for it to be fairly punchy, and as I said we've pencilled in some staccato notes, mainly at the end of bars and in bars 13-16. I have also pencilled in "legato quavers" at the top of the page - notably the longish mostly-quaver passage starting in bar 17 - so this must be something my teacher must have said! Perhaps I should aim for contrasting sections as you suggested. I previously only met the piece in the strings syllabi (G2 for violin, G3 for viola). My daughter did it for her violin G2 and a student for viola G3, and neither of them made it particularly punchy, but then strings are a whole other set of instruments, and at G2 violin it's generally enough to play the notes and get them mostly in tune, never mind the articulation!
Ooh, I didn't know there was an RRA bk 2. I wonder if there is one for alto too. My RRA book isn't numbered 1 or 2, so that would maybe suggest that there isn't. Is Wolsey's Wilde a grade piece on descant?
I'm trying to get the fingering really clean on this as it's Allegro. Glad there aren't any low Fs, as those are still proving a problem!
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Post by Misty on Feb 28, 2023 19:33:05 GMT
I know nothing of the piece of music so can't comment on that. I do (pretty much) always clean my teeth before playing - as Zi says, it saves you from blowing food fragments into the recorder. I try to do it at least 15 mins before and drink water in between or I'm blowing toothpaste into it instead of food, plus my mouth is drier(?) just after I've done my teeth so it's less comfortable. I also read that you shouldn't play immediately after using mouthwash as then you're blowing something fairly acidic down it, I don't know if that is true or not.
Hi Pavane and thanks for your reply. Hmm, perhaps I should upgrade my dental hygiene routine before practising then! I don't generally practise straight after a meal, but I suppose with wooden instruments its best to clean first. It makes sense about the mouthwash too.
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Post by Zi on Mar 1, 2023 8:10:55 GMT
Misty - It is the advantage of having a practice plastic instrument - you can leave it lying around so pick it up at odd moments and you can wash it. It's one of the reasons I differentiate between 'practice' and 'performance'. Re Wolsey's Wilde - As the music I've looked at has no directions I would use it as an opportunity to interpret it! It sounds like a dance piece to me so I guess I'd either look at what the dancers did to it and follow that or give them things to dance to. For example, the legato sections would be good for couples twirling round and the spiky bits would be good for lines meeting and reversing. It's a piece for artistic license! Low F is difficult. I find it needs some thought because the finger stretch is a slight challenge but it also needs the gentlest of breath. If you're coming from a high note to it, then it is particularly awkward. Some recorders are more loathe to play a reasonable bottom F than others, too.
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Post by pavane on Mar 1, 2023 9:27:40 GMT
Hi Pavane and thanks for your reply. Hmm, perhaps I should upgrade my dental hygiene routine before practising then! I don't generally practise straight after a meal, but I suppose with wooden instruments its best to clean first. It makes sense about the mouthwash too. Hi Misty - I should add, I don't exactly pop down to the dental hygenist every time I pick up a recorder I think the amount of cleaning I do is in inverse proportion to the length of time since I had lunch (I mostly play in the afternoon). And as Zi says, it's nice to have a plastic one you can just pick up and blow if the mood takes you without having to rush to the bathroom first.
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