|
|
| Line 1: |
Line 1: |
| − | {{otheruses}}
| + | [[Image:Party whistle on radio.jpg|thumb|right|A party whistle.]] |
| − | [[Image:VariousRecorderFlutes.jpg|thumb|300px|Various recorders]] | + | [[Image:Pea Whistle.jpg|thumb|A metal pea whistle.]] |
| − | The '''recorder''' is a [[woodwind instrument|woodwind]] [[musical instrument]] of the family known as ''[[fipple]] [[flute]]s'' or ''internal duct flutes'' — whistle-like instruments which include the [[tin whistle]] and [[ocarina]]. The recorder is end-blown and the mouth of the instrument is constricted by a wooden plug, known as a ''block'' or ''fipple''.<ref>Grove Music Online recommends that use of the word ''fipple'' should be abandoned because its meaning is confused. However, other sources (eg the Oxford Dictionary of Music) continue to use it.</ref> It is distinguished from other members of the family by having holes for seven fingers (the lower one or two often doubled to facilitate the production of [[semitones]]) and one for the thumb of the uppermost hand. The bore of the recorder is tapered slightly, being widest at the [[mouthpiece (woodwind)|mouthpiece]] end of it (Baroque recorders) and narrowest at the top, flared almost like a trumpet at the bottom (Renaissance instruments).
| |
| | | | |
| − | The recorder was popular from [[Medieval music|medieval times]] but declined in the 18th century in favour of orchestral woodwind instruments, such as the [[flute]], [[oboe]], and [[clarinet]]. During its heyday, the recorder was traditionally associated with birds, shepherds, miraculous events, funerals, marriages and amorous scenes. Images of recorders can be found in literature and artwork associated with all these. [[Henry Purcell|Purcell]], [[Johann Sebastian Bach|Bach]], [[Georg Philipp Telemann|Telemann]] and [[Antonio Vivaldi|Vivaldi]] used the recorder to suggest shepherds and birds, and the pattern continued into the 20th century.<ref name=Lander>[http://www.recorderhomepage.net/ The Recorder Homepage], maintained by Nicholas S. Lander, includes a comprehensive survey of historical instruments</ref>
| + | A '''whistle''' or '''call''' is a simple [[aerophone]], an [[musical instrument|instrument]] which produces [[sound]] from a stream of forced air. It may be mouth-operated, or powered by air pressure, steam, or other means. Whistles vary in size from a small slide whistle or [[nose flute]] type to a large multi-piped [[Organ (music)|church organ]]. |
| | | | |
| − | The recorder was revived in the 20th century, partly in the pursuit of [[historically informed performance]] of early music, but also because of its suitability as a simple instrument for teaching music and its appeal to amateur players. Today, it is often thought of as a child's instrument, but there are many excellent virtuosic players who can demonstrate the instrument's full potential as a solo instrument.<ref>For example, Eve O'Kelly describes how [[Frans Brüggen]] "achieved worldwide recognition as a recorder virtuoso" in her book ''The Recorder Today'', Cambridge University Press, 1990. ISBN 0-521-36681-X. p.62</ref> The sound of the recorder is remarkably clear and sweet, partly because of the lack of upper [[harmonics]] and predominance of odd harmonics in the sound.<ref>Jean Marc Bonard, "The Physicist's Guide to the Orchestra", 2001, ''Eur. J. Phys.'' 22 89-101</ref>
| + | ==History== |
| − | {{Woodwinds}}
| |
| − | | |
| − | ==The name of the instrument== | |
| − | | |
| − | The instrument has been known, in English, as a recorder, at least since the 14th century. Grove's Dictionary reports that the earliest use of the word 'recorder' was in the household of the Earl of Derby in 1388: ''fistula nomine Recordour''. The name originates from the use of the word ''record'', one meaning of which is "to practise a piece of music".
| |
| − | | |
| − | Up to the 18th century, the instrument was called ''{{lang|it|Flauto}}'' (flute) in Italian, the language used in writing music, whereas the instrument we today call the flute was called '{{lang|it|Flauto traverso}}'. This has led to some pieces of music occasionally being mistakenly performed on transverse flute rather than on recorder.
| |
| − | | |
| − | Today, the recorder is known as ''{{lang|it|flauto dolce}}'' in Italian (sweet flute), with equivalents in other languages. In Spanish the name ''flauta'' is ambiguous, as it can mean both the ''flauta travesera'', the ''flauta dulce'' (recorder) or other types.
| |
| − | | |
| − | ==How the instrument is played==
| |
| − | [[Image:Recorder300.svg|left|frame|Cross-section of the head of a recorder]]
| |
| − | | |
| − | The recorder is held outwards from the player's lips (rather than to the side, like the "transverse" flute). The player's breath is compressed into a linear airstream by a channel cut into the wooden "block" or [[fipple]] (A), in the mouthpiece of the instrument, so as to travel along this channeled duct (B) called the "windway". Exiting from the windway, the breath is directed against a hard edge (C), called the "labium" or "ramp", which causes the column of air within the resonator tube to oscillate at the desired frequency, determined by the bore length or open tone hole used. The length of the air column (and the pitch of the note produced) is modified by finger holes in the front and thumb hole at the back of the instrument.
| |
| − | | |
| − | {| border="1" cellpadding="0"
| |
| − | |-
| |
| − | |width="300pt" align="center"|[[Image:Recorder topside annotated.JPG|300px]]
| |
| − | |width="300pt"|[[Image:Recorder underside annotated.JPG|300px]]
| |
| − | |-valign="top"
| |
| − | |width="300pt"|A picture of the top of an alto (treble) recorder with the main parts of the recorder illustrated.
| |
| − | |width="300pt"|The bottom of the same recorder with annotations.
| |
| − | |}
| |
| − | | |
| − | ==Types of recorder==
| |
| − | {| style="border:1px solid #aaa; font-size:95%; background-color:#f9f9f9; padding:10px;" cellspacing="0" cellpadding="2" border="1" class="hintergrundfarbe1 rahmenfarbe1" align=right float
| |
| − | | bgcolor="#F8EABA" align="center" colspan="4" | '''RECORDER FAMILY'''
| |
| − | |-
| |
| − | ! bgcolor="#B2C6FF" align="center"|Instruments in C !! bgcolor="#B2C6FF" align="center"|Range
| |
| − | ! bgcolor="#B2C6FF" align="center"|Instruments in F !! bgcolor="#B2C6FF" align="center"|Range
| |
| − | |-align="right"
| |
| − | | garklein || [[Image:Range GarkleinRecorder.png|120px]]
| |
| − | || sopranino || [[Image:Range SopraninoRecorder.png|120px]]
| |
| − | |-align="right"
| |
| − | | soprano (descant)<BR>[[Media:SopranoRecorder.ogg|Listen to it]] || [[Image:Range SopranoRecorder.png|120px]]
| |
| − | || alto (treble) || [[Image:Range AltoRecorder.png|120px]]
| |
| − | |-align="right"
| |
| − | | tenor || [[Image:Range TenorRecorder.png|120px]]
| |
| − | || bass<BR>(bass in F)|| [[Image:Range BassRecorder.png|120px]]
| |
| − | |-align="right"
| |
| − | | great bass<BR>(bass in C) || [[Image:Range GreatBassRecorder.png|128px]]
| |
| − | || contra bass || [[Image:Range ContraBassRecorder.png|120px]]
| |
| − | |-align="right"
| |
| − | | subcontra bass || [[Image:Range SubContraBassRecorder.png|120px]]
| |
| − | || sub-subcontrabass<BR>(octocontrabass) || [[Image:Range SubSubContraBassRecorder.png|120px]]
| |
| − | |}
| |
| − | | |
| − | Recorders are made in a variety of sizes. They are most often tuned in C or F, meaning that their lowest note possible is a C or an F. However, instruments in D, B flat, G, and E flat were not uncommon historically and are still found today, especially the tenor recorder in D, which is called a "voice-flute." Refer to the table to see the entire recorder family in C and F.
| |
| − | | |
| − | The recorder most often used for solo music is the treble recorder (known as alto in the USA), and when the recorder is specified without further qualification, it is this size that is meant. The descant (known as the soprano in the USA) also has an important repertoire of solo music (not just school music) and there is a little for tenor and bass recorders. Classroom instructors most commonly use the descant. The largest recorders, larger than the bass recorder, are less often used, since they are expensive and their sizes (the contrabass in F is about 2 meters tall) make them hard to handle. An experimental 'piccolino' has also been produced which plays a fourth above the garklein. Although it might be considered that the garklein is already too small for adult-sized fingers to play easily and that the even smaller piccolino was simply not practical, the fact that the holes for each finger are side by side and not in a linear sequence make it quite possible to play.<ref>[http://www.hants.gov.uk/hrs/range/range.html Hampshire Recorder Sinfonia guide to the recorder family]</ref>
| |
| − | | |
| − | For recorder ensemble playing, the descant/soprano, treble/alto, tenor and bass are most common - many players can play all four sizes. Great basses and contrabasses are always welcome but are more expensive. The sopranino does not blend as well and is used primarily in recorder orchestras and for concerto playing.{{Fact|date=November 2007}} The larger recorders have great enough distances between the finger holes that most people's hands can not reach them all. So, instruments larger than the alto (and sometimes alto recorders, as well) have keys to enable the player to cover the holes or to provide better tonal response. In addition, the largest recorders are so long that the player cannot simultaneously reach the finger holes with the hands and reach the mouthpiece with the lips. So, instruments larger than the bass (and some bass recorders too) may use a [[bocal]] or [[crook]], a thin metal tube, to conduct the player's breath to the windway, or they may be constructed in sections that fold the recorder into a shape that brings the windway back into place.
| |
| − | | |
| − | Today, high-quality recorders are made from a range of hardwoods: [[maple]], [[pear]] wood, [[rosewood]], [[grenadilla]], or boxwood with a block of [[red cedar]] wood.<ref>Trevor Robinson, ''The Amateur Wind Instrument Maker'', University of Massachusetts Press, 1981. ISBN 0-87023-312-2. See chapter 2, "Wooden instruments, materials and methods"</ref> Plastic recorders are produced in large quantities. Plastics are cheaper and require less maintenance and quality plastic recorders are equal to or better than lower-end wooden instruments. Beginners' instruments, the sort usually found in children's ensembles, are plastic and can be purchased quite cheaply.
| |
| − | | |
| − | Most modern recorders are based on instruments from the Baroque period, although some specialist makers produce replicas of the earlier Renaissance style of instrument. These latter instruments have a wider, less tapered bore and typically possess a less reedy, more blending tone more suited to consort playing.
| |
| − | | |
| − | [[Image:Furulya 001.jpg|thumb|A recorder with German fingering. The fifth hole from the top is smaller than in a comparable instrument with English or Baroque fingering]]In the early part of the twentieth century, [[Peter Harlan]] developed a recorder which allowed for apparently simpler fingering. This is [[German fingering]]. A recorder designed for German fingering has a hole five smaller than hole four, baroque and neo-baroque recorders have hole four smaller than hole five. The immediate difference in fingering is for ‘F’ and ‘B♭’, on a neo-baroque instrument these must be fingered 0 123 4-67. With German fingering this becomes 0 123 4---. Unfortunately this causes many other chromatic notes to be too badly out of tune to be usable;<ref>A Rowland-Jones, ''Recorder Technique'' ISBN 0-907908-75-6</ref> and consequently they can play only a single diatonic scale<ref>[http://www.recorder-fingerings.com/en/index.php Recorder fingerings<!-- Bot generated title -->]</ref> German fingering became popular in Europe, especially Germany, in the 1930s, but rapidly became obsolete in the 1950s as the recorder began to be treated more seriously and the limitations of German fingering became more widely appreciated.<ref>Edgar Hunt, ''The Recorder And Its Music''</ref>. Many recorder makers continue to produce German fingered instruments today.
| |
| | | | |
| − | Some newer designs of recorder are now being produced. Larger recorders built like organ pipes with square cross sections are cheaper than the normal designs if, perhaps, not so elegant.<ref>[http://www.dolmetsch.com/millennium.htm Dolmetsch "Millennium" square section recorders]</ref> Another area is the development of instruments with a greater dynamic range and more powerful bottom notes. These modern designs make it easier to be heard when playing concerto. Finally, recorders with a downward extension of a semitone are becoming available; such instruments can play a full three octaves in tune. The tenor is especially popular, since its range becomes that of the modern flute; [[Frans Brüggen]] has publicly performed such flute works as ''Density 21.5'' by [[Edgar Varèse]] on an extended tenor recorder.
| + | The whistle has its roots dating back to ancient China, where night watchmen would blow into the tops of acorns to alert the towns to invading Mongolians.{{Fact|date=March 2008}} In ancient Egypt two blades of the papyrus plant along the Nile river were held together in between the palms. By blowing into the palms the papyrus leaves would make a loud vibrant sound.{{Fact|date=January 2009}} |
| | | | |
| − | === Standard pitch === | + | == Whistle-types == |
| | | | |
| − | Recorders are most commonly pitched at A=440Hz. However, among serious amateurs and professionals, two other standard pitches are commonly found. For baroque instruments, A=415Hz is the ''de facto'' standard, while renaissance instruments are often pitched at A=466Hz. Both tunings are a compromise between historical accuracy and practicality. For instance, the Stanesby Sr alto, copied by many contemporary makers is based on A=403Hz; some makers indeed offering an instrument at that pitch<ref>Jacqueline Sorel, Baroque Alto Recorder after Stanesby, Sr http://www.sorel-recorders.nl/models/m05stanesbyE.html</ref>. Some recorder makers offer 3-piece instruments with two middle sections, accommodating two tuning systems<ref>Jacqueline Sorel: Renaissance Recorders after Ganassi: http://www.sorel-recorders.nl/models/m01ganassiE.html</ref>
| + | Many types exist, from small [[police]] and [[sports]] whistles (also called [[pea whistle]]s), to much larger [[train whistle]]s, which are [[steam whistle]]s specifically designed for use on [[locomotive]]s and [[ship]]s. Although whistles have a musical characteristic (for example train whistles sound a [[Minor seventh chord|minor-seventh musical chord]]) whistles are not usually considered "musical" in the sense of being able to play a chosen melody, but mainly the small whistles can also be used as a – very shrill and loud – [[noise instrument|noise]] and [[rhythm instrument]]. However, musical whistles exist, including any of several 2-[[octave]] musical instruments known as [[tin whistle]]s (sometimes known as pennywhistles or low whistles), as well as the [[calliope (music)|calliope]] (an array of separately actuable steam whistles), [[Organ (music)|organ]] pipes and the [[recorder]]. Pea whistles are used in [[jazz]] and [[Latin music]] as a [[percussion instrument]], and children often use them as a toy music instrument. |
| | | | |
| − | The 415 pitch has the advantage that it is an exact semitone lower than 440Hz; there are harpsichords that can shift their keyboard in a matter of minutes<ref>David Jacques Way: Harpsichord Pitch and Transposition http://zhi.net/technical/pitch.shtml</ref>. The A=392Hz pitch, is similarly another semitone lower. | + | The whistle works by causing the smooth flow of air to be split by a narrow blade, sometimes called a [[fipple]], creating a [[turbulence|turbulent]] [[vortex]] which causes the air to vibrate. By attaching a [[Acoustic resonance|resonant]] chamber to the basic whistle, it may be tuned to a particular note and made louder. The length of the chamber typically defines the resonance [[frequency]]. A whistle may also contain a small light ball, usually called the ''[[pea]]'', which rattles around inside, creating a [[chaos|chaotic]] [[vibrato]] effect that intensifies the sound. [[Japanese people|Japanese]] [[bird whistle]]s use several small balls and are half filled with water in order to reproduce the sound of a [[bird song]]. |
| | | | |
| − | ==Sheet music notation==
| + | A steam whistle works the same way, but using steam as a source of pressure: such whistles can produce extremely high sound intensities. |
| − | Sheet music for recorder is nearly always notated in 'concert key,' meaning that a written "C" in the score actually sounds as a "C." This implies that the player must learn two different sets of similar fingerings, one for the C recorders and another for the F recorders. However, many sizes of recorder do transpose at the octave. The garklein sounds two octaves above the written pitch; the sopranino and soprano sound one octave above written pitch. Alto and tenor sizes do not transpose at all, while the bass and great bass sound one octave above written (bass clef) pitch. Contrabass and subcontrabass are non-transposing while the octocontrabass sounds one octave below written pitch.
| |
| | | | |
| − | Sizes from garklein down through tenor are notated in the treble clef while the bass size and lower usually read the bass clef. Professionals can usually read C-clefs and often perform from original notation.
| + | Sometimes, unintentional whistles can be set up. A common one is the opened [[sunroof]] of a [[Automobile|car]]: air passing over the top of the vehicle can, at certain speeds, strike the back edge of the sunroof, creating a very low frequency whistle which is resonated by the closed interior of the car. Since the sound frequency is [[infrasonic]], around 4 [[Hertz|Hz]], the effect is very uncomfortable for occupants, who feel the vibration rather than hear it. Such low frequencies can induce [[nausea]], [[headache]], [[delirium|disorientation]] and [[dizziness]]. The effect can be prevented by opening a side window a few inches. Subsonic whistles have also been developed for use as weapons, or to deliberately create a sense of uneasiness in an enemy.{{Fact|date=September 2007}} |
| | | | |
| − | Alternative notations which are only occasionally used:
| + | == Fields and usages == |
| − | # Bass recorder in F may be written in treble clef at real pitch, so that the low F is written a fifth below middle C with three ledger lines.
| |
| − | # Bass recorder in F may be written in treble clef an octave above real pitch (i.e. sound an octave below written pitch), so that its fingerings are completely octave-identical to the alto in F.
| |
| − | # Great bass recorder in C may be written in treble clef. If so, it would probably be written up an octave to match the fingering régime of the tenor in C.
| |
| − | # Tenor recorder in C may be written in bass clef one octave below real pitch in order to read choral parts for tenor voice.
| |
| − | # Alto recorder in F may be written down an octave to read alto vocal parts.
| |
| − | # All recorders may be transposed by both octave and key so that the lowest note is always written as middle C below the treble clef. In this system, only the tenor is non-transposing while all other parts would transpose up or down in fourths, fifths and octaves as appropriate.
| |
| − | # Urtext editions of baroque music may preserve the baroque practice of writing treble(alto) recorder parts in the Violin clef (G clef on the bottom line of the stave). From the player's point of view, this is equivalent to using bass(et) recorder fingerings on the treble(alto) recorder.
| |
| | | | |
| − | As a rule of thumb, recorders sound one octave above the human voice after which they are named (soprano recorder is an octave above soprano voice, alto an octave above alto voice, etc.) The recorder's mellow tone and limited harmonics allows for the seemingly deeper sound.<ref>[http://www.tapiasgold.com/crb/instruments.html www.tapiasgold.com]</ref>
| + | === Police whistles === |
| | | | |
| − | ==Recorder fingering==
| + | [[Image:Police whistles.jpg|thumb|Examples of police whistles]] |
| − | {| style="border:1px solid #aaa; font-size:95%; background-color:#f9f9f9; padding:10px;" cellspacing="0" cellpadding="2" border="1" class="hintergrundfarbe1 rahmenfarbe1" align=left
| |
| − | |+'''RECORDER FINGERINGS (BAROQUE): LOWEST NOTE THROUGH THE NOMINAL RANGE OF 2 OCTAVES AND A TONE'''
| |
| − | |-
| |
| − | | align="center" colspan="2" | '''Note'''
| |
| − | | bgcolor="#F8EABA" align="center" colspan="8" | '''First Octave'''
| |
| − | |
| |
| − | | bgcolor="#F8EABA" align="center" colspan="8" | '''Second Octave'''
| |
| − | |
| |
| − | | bgcolor="#F8EABA" align="center" colspan="8" | '''Third Octave'''
| |
| − | |-
| |
| − | ! Tuned³<BR>in F
| |
| − | ! Tuned<BR>in C
| |
| − | ! '''Hole'''<BR>'''0'''
| |
| − | ! '''Hole'''<BR>'''1'''
| |
| − | ! '''Hole'''<BR>'''2'''
| |
| − | ! '''Hole'''<BR>'''3'''
| |
| − | ! '''Hole'''<BR>'''4'''
| |
| − | ! '''Hole'''<BR>'''5'''
| |
| − | ! '''Hole'''<BR>'''6'''
| |
| − | ! '''Hole'''<BR>'''7'''
| |
| − | !
| |
| − | ! '''Hole'''<BR>'''0'''
| |
| − | ! '''Hole'''<BR>'''1'''
| |
| − | ! '''Hole'''<BR>'''2'''
| |
| − | ! '''Hole'''<BR>'''3'''
| |
| − | ! '''Hole'''<BR>'''4'''
| |
| − | ! '''Hole'''<BR>'''5'''
| |
| − | ! '''Hole'''<BR>'''6'''
| |
| − | ! '''Hole'''<BR>'''7'''
| |
| − | !
| |
| − | ! '''Hole'''<BR>'''0'''
| |
| − | ! '''Hole'''<BR>'''1'''
| |
| − | ! '''Hole'''<BR>'''2'''
| |
| − | ! '''Hole'''<BR>'''3'''
| |
| − | ! '''Hole'''<BR>'''4'''
| |
| − | ! '''Hole'''<BR>'''5'''
| |
| − | ! '''Hole'''<BR>'''6'''
| |
| − | ! '''Hole'''<BR>'''7'''
| |
| − | |-align="center" bgcolor="#efefef"
| |
| − | | F
| |
| − | | C
| |
| − | | X
| |
| − | | X | |
| − | | X | |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | |
| |
| − | | X
| |
| − | | O
| |
| − | | X
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | |
| |
| − | | /
| |
| − | | X
| |
| − | | O
| |
| − | | O
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | O
| |
| − | |-align="center"
| |
| − | | F♯
| |
| − | | C♯
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | /
| |
| − | |
| |
| − | | O
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | |
| |
| − | | /
| |
| − | | X
| |
| − | | O
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | X
| |
| − | | X<sup>1,2</sup>
| |
| − | |-align="center" bgcolor="#efefef"
| |
| − | | G
| |
| − | | D
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | |
| |
| − | | O
| |
| − | | O
| |
| − | | X
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | |
| |
| − | | /
| |
| − | | X
| |
| − | | O
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | X
| |
| − | | X²
| |
| − | |-align="center"
| |
| − | | A♭
| |
| − | | E♭
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | /
| |
| − | | O
| |
| − | |
| |
| − | | O
| |
| − | | O
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | |-align="center" bgcolor="#efefef"
| |
| − | | A
| |
| − | | E
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | O
| |
| − | |
| |
| − | | /
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | O
| |
| − | |-align="center" bgcolor="#efefef"
| |
| − | | B♭
| |
| − | | F
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | X
| |
| − | | X
| |
| − | |
| |
| − | | /
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | X
| |
| − | | O
| |
| − | |-align="center"
| |
| − | | B
| |
| − | | F♯
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | |
| |
| − | | /
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | X
| |
| − | | O
| |
| − | | O
| |
| − | |-align="center" bgcolor="#efefef"
| |
| − | | C
| |
| − | | G
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | |
| |
| − | | /
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | |-align="center"
| |
| − | | C♯
| |
| − | | G♯
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | X
| |
| − | | X
| |
| − | | /
| |
| − | | O
| |
| − | |
| |
| − | | /
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | X
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | |-align="center" bgcolor="#efefef"
| |
| − | | D
| |
| − | | A
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | |
| |
| − | | /
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | |-align="center"
| |
| − | | E♭
| |
| − | | B♭
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | |
| |
| − | | /
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | X
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | |-align="center" bgcolor="#efefef"
| |
| − | | E
| |
| − | | B
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | | O
| |
| − | |
| |
| − | | /
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | X
| |
| − | | X
| |
| − | | O
| |
| − | | O
| |
| − | |}
| |
| − | {{-}}
| |
| − | <small>Note 1: The bell must be stopped to play this note.<br>
| |
| − | Note 2: Individual recorders may need this hole to be closed (X), half closed(/), or open (O) to play the note in tune.<br>
| |
| − | Note 3: See the section [[Recorder#Types of recorder|Types of recorder]] concerning recorders tuned in C or in F.</small>
| |
| | | | |
| − | {|border="1" cellpadding="5" cellspacing="0" align="right" float
| + | In [[England]] since the [[Metropolitan Police Service]]s inception in 1829, [[Police officer|officers]] have been issued with the "Metropolitan" whistle. Prior to this, police used hand rattles,<ref>Taylor, J. [http://www.constabulary.com/mystery/rattle.htm "The Victorian Police Rattle Mystery"] ''The Constabulary (2003)</ref> with whistles only being used as musical instruments or toys. Both rattles and whistles were used to call for back-up in areas where neighbourhood beats overlapped, and following their success in [[London]], the whistle was adopted by most counties in England. |
| − | |+'''HOW THE FINGERS AND HOLES ARE NUMBERED'''
| |
| − | ! style="background:#efefef;" |'''The Fingers'''
| |
| − | ! style="background:#efefef;" |'''The Holes'''
| |
| − | |-
| |
| − | | [[Image:NumberedLeftHand.jpg|200px]]<BR>[[Image:NumberedRightHand.jpg|200px]]
| |
| − | | [[Image:Numbered finger holes.jpg|left]]
| |
| − | |}
| |
| | | | |
| − | The range of a modern recorder is usually taken to be about two [[octave]]s except in virtuoso pieces. See the table above for fingerings of notes in the nominal recorder range of 2 octaves and 1 whole tone. Notes above this range are more difficult to play, and the exact fingerings vary from instrument to instrument, so it is impractical to put them into the table here.<ref>Kenneth Wollitz, ''The Recorder Book'', Knopf, 1984. ISBN 0-394-47973-4. See Chapter 1, "Technique"</ref> The numbers at the top correspond to the fingers and the holes on the recorder, according to the pictures. In the table, "X" signifies a closed hole, "O" signifies an open hole, and "/" signifies a half-closed hole.
| + | [[J Stevens & Son]] & [[J Dixon & sons]] made police whistles from around the 1840s, [[T Yates]] made Beaufort whistles for the [[Liverpool Police]] in the 1870s. The 1880s and 1890s saw police whistles made by [[W Dowler & Sons]], [[J Hudson & Co]], [[J Barrall]], [[R A Walton]], [[H A Ward]] and [[A De Courcy & Co]]. |
| | | | |
| − | The note two octaves and one semitone above the lowest note (C# for soprano, tenor and great bass instruments; F# for sopranino, alto and bass instruments) is difficult to play on most recorders. These notes are best played by covering the end of the instrument (the "bell"); players typically use their upper leg to accomplish this. Some recorder makers added a special bell key for this note — newer recorder designs with longer bores also solve this problem and extend the range even further. The note is only occasionally found in pre-20th-century music, but it has become standard in modern music.
| + | [[Police]] whistles fell into disuse in many countries in 1969, when early hand-held radios were brought into service. With the rise of the motor car, the whistle was no longer usefully audible in urban areas. The whistle is still used by some police forces today, and engraved ceremonial versions are sometimes presented to police officers upon occasions such as their retirement. |
| | | | |
| − | The lowest chromatic scale degrees — a semitone and a minor third above the lowest note — are played by covering only a part of a hole, a technique known as "half-holing." Most modern instruments are constructed with double holes or keys to facilitate the playing of these notes; such double holes are occasionally found on baroque instruments, where even the hole for the third finger of the left hand can be doubled. Other chromatic scale degrees are played by so-called "fork" fingerings, uncovering one hole and covering one or more of the ones below it. Fork fingerings have a different tonal character from the diatonic notes, giving the recorder a somewhat uneven sound. Budget tenor/bass recorders might have a single key for low C/F but not low C#/F#, making this note virtually impossible to play. Double low keys allowing both C/F and C#/F# are more or less standard today.
| + | === Industrial whistles === |
| | | | |
| − | Most of the notes in the second octave and above are produced by partially closing the thumbhole on the back of the recorder, a technique known as "pinching". The placement of the thumb is crucial to the intonation and stability of these notes, and varies as the notes increase in pitch, making the boring of a double hole for the thumb unviable. To play the notes in the second octave, the player must tongue somewhat harder in order to excite the second and third harmonics of the instrument.
| + | Industrial whistles are used for [[Distress signal|signal]]ling and [[time]]keeping both on [[railroad]] and [[ship]]s, and in [[factory|factories]]. Most of these whistles were [[steam power]]ed and not standardized. Individual [[locomotive]]s could be identified by their whistles. At noontime in industrial areas up into the 1950s whistles of every pitch could be heard, as each factory had a boiler and a whistle, if not full steam power. |
| | | | |
| − | A skilled player can, with a good recorder, play chromatically over two octaves and a fifth. Use of notes in the 3rd octave is becoming more common in modern compositions; several of these notes require closure of the bell or shading of the window area (ie holding the palm of the hand above the window, partially restricting the air emerging from it). In the hands of a competent player, these upper notes are not especially loud or shrill.<ref>[http://www.dolmetsch.com/efingeringchart.pdf Recorder fingering charts]</ref>
| + | === Safety === |
| | | | |
| − | The renaissance recorder had a range of two octaves and a sixth <ref>Ganassi, ''Opera intitula Fontegara'', available in many modern facsimile editions</ref>, though writers on woodwind instruments in general from that period, e.g. [[Praetorius]], often give shorter ranges. This might reflect a distinction between skilled and unskilled players in the renaissance or the differences in instruments made in one region versus another or over time. Modern reproductions of renaissance instruments, especially those from middle of the last century, often have a range as little as one and a half octaves<ref>[http://www.recorder-fingerings.com Recorder fingerings<!-- Bot generated title -->]</ref> but more recent makers now produce reproduction renaissance instruments with the full range and Ganassi's fingerings. Consequently many publishers of recorder music refer to 'music for Ganassi recorder', or a similar phrase, when they mean recorder music with a range greater than two octaves and a tone.
| + | Whistles are often used as warning devices or as safety devices serving to attract attention to the user. Some [[cyclist]]s use a whistle as a substitute for a [[bell (instrument)| bell]] or [[Horn (acoustic)|horn]]. It should be noted, however, that many jurisdictions require that the warning device be permanently attached to the [[bicycle]]. |
| | | | |
| − | Changes in dynamics are not easy to achieve on the recorder if the player is accustomed to other wind instruments. If the player blows harder to play louder, or more softly to play softer, the pitch changes and the note goes out of tune, and unlike the transverse flute, the player cannot change the position of the mouth in relation to the labium in order to compensate. Consequently pitch is controlled largely by the breath, and dynamics are controlled largely by the fingers; for example by resting the fingers lightly on the holes breath leaks around them, lifting the pitch; and the resulting instinctive change in breath pressure to bring the pitch back also drops the volume. Advanced players use alternative fingerings to enable changes in dynamics.<ref>Walter van Hauwe, ''The Modern Recorder Player'', Volume III, Schott, 1992. ISBN 0-946535-19-1. See Chapter 3, "Alternative Fingerings"</ref>. The recorder is notable for its sensitivity to articulation; in addition to its obvious use for artistic effect skilled players can also use this sensitivity to suggest changes in volume.<ref>A Rowland-Jones, ''Playing Recorder Sonatas'' Clarendon Press ISBN 0-19-879001-5</ref>
| + | Rescue or survival whistles are often packed in [[survival kit]]s and attached to [[personal flotation device]]s to allow a victim to signal for help. The whistle is audible at much greater distances than the human voice, and is less likely to cause exhaustion if used repeatedly. Survival whistles differ from pea whistles in that they are usually flat, so that water cannot collect inside if the user is immersed, for example after falling overboard from a boat. |
| | | | |
| − | ==History==
| + | Whistles can also produce sounds at pitches inaudible to the human ear such as dog whistles which can be heard by dogs at a range beyond that of human sensory perception, or at least conscious perception. |
| − | ===Early recorders===
| |
| − | Internal duct-flutes have a long history: an example of an [[Iron Age]] specimen, made from a sheep bone, exists in [[Leeds]] City Museum.<ref>''Oxford Companion to Music''. See section 1 of "Recorder Family" article</ref>
| |
| | | | |
| − | The true recorders are distinguished from other internal duct flutes by having eight finger holes (in use - see below); seven on the front of the instrument and one, for the upper hand thumb, on the back, and having a slightly tapered bore, with its widest end at the mouthpiece. It is thought that these instruments evolved in the 14th century, but an earlier origin is a matter of some debate, based on the depiction of various whistles in medieval paintings. To this day whistles -as used in Irish folk music- have six holes. The original design of the transverse flute (and its fingering) was based on the same six holes, but it was later much altered by [[Theobald Böhm]].
| + | === Boats === |
| | | | |
| − | One of the earliest surviving instruments was discovered in a castle moat in [[Dordrecht]], the [[Netherlands]] in 1940, and has been dated to the 14th century. It is largely intact, though not playable. A second more or less intact 14th century recorder was found in a latrine in northern Germany (in [[Göttingen]]): other 14th-century examples survive from Esslingen (Germany) and Tartu (Estonia). There is a fragment of a possible 14th-15th-century bone recorder in Rhodes (Greece); and there is an intact 15th-century example from Elblag (Poland). <ref name=Lander>[http://www.recorderhomepage.net/ Recorder Home Page, by Nicholas S. Lander], includes a comprehensive survey of surviving medieval recorders, as well as a consideration of etymological, literary and iconographic evidence.</ref> | + | Ship's whistles must be very loud for [[International Regulations for Preventing Collisions at Sea#Part D - Sound and light signals|safety on the seas]]. Modern ship's whistles can be electrically or [[Steam whistle|steam]] driven. {{RMS|Queen Mary}} was originally equipped with three electric ''Tyfon'' whistles in 1932. They could be heard at least ten miles away and were tuned to 55 Hz, a low bass ''A'' note that was chosen for maximum passenger comfort despite the high sound pressure level.<ref>[http://www.sterling.rmplc.co.uk/visions/funnel2.jpg The Voice of the Queen Mary]</ref> One of the three whistles was taken back to Kockum Sonics in [[Malmö]], [[Sweden]], where it was refurbished for a new life of service aboard the [[RMS Queen Mary 2|RMS ''Queen Mary 2'']]. Modern [[International Maritime Organization|IMO]] regulations specify ships' whistle frequencies to be in the range 70-200 Hz for vessels that are over 200 meters in length.<ref>[http://www.kockumsonics.com/products/marine/marine_tyfon_imo_regulations.htm Kockum Sonics: Tyfon product IMO regulations]</ref> Traditionally, the lower the frequency, the larger the ship. The ''Queen Mary 2'', being 345 meters long, was given the lowest possible frequency (70 Hz) for her regulation whistles which means she carries both 70 Hz modern whistles and a single vintage 55 Hz whistle. |
| | | | |
| − | The earliest recorders were designed to be played either right-handed (with the right hand lowermost) or left-handed (with the left hand lowermost). The holes were all in a line except for the lowest hole, for the lower hand little finger. This last hole was offset from the center line, and drilled twice, once on each side. The player would fill in the hole they didn't want to use with wax. It is this doubled hole (not to be confused with the later double holes for semitones) which accounts for the early French name ''{{lang|fr|flute à neuf trous}}'' In later years, the right-hand style of playing was settled on as standard and the second hole disappeared.
| + | === Trains === |
| | | | |
| − | [[Image:Barocke Blockflöten.png|thumb|left|Renaissance recorders]] | + | Railroads in particular used elaborate whistle codes for communication both within the [[train]] and with other trains. These methods are maintained today with motor-powered [[air horn]]s. Trucks also use air horns, especially since they often have air brakes and so there is already a source of compressed air on board. |
| | | | |
| − | ===The Renaissance===
| + | [[Train whistle]]s generally produce three or four different frequencies at the same time to produce a non-[[major chord]] that is distinct, loud, and low in pitch. |
| − | The recorder achieved great popularity in the 16th and 17th centuries. This development was linked to the fact that [[art music]] (as opposed to [[folk music]]) was no longer the exclusive domain of nobility and clergy. The advent of the printing press made it available to the more affluent commoners as well. The popularity of the instrument also reached the courts however. For example, at [[Henry VIII of England|Henry VIII]]'s death in 1547, an inventory of his possessions included 76 recorders.<ref>''Oxford Companion to Music''. see section 2 of the article on "Recorder Family"</ref> There are also numerous references to the instrument in contemporary literature (eg [[William Shakespeare|Shakespeare]]<ref>''Hamlet, Act III scene ii'', Hamlet: "Ah, ha! Come, some music! Come, the recorders!"</ref> and [[John Milton|Milton]]<ref>''Paradise Lost, Book I'': "Anon they move/ in perfect phalanx to the Dorian mood/ flutes and soft recorders"</ref>).<ref>For an extensive database of literary references to the recorder see [http://www.recorderhomepage.net/quotes.html here]</ref>
| |
| | | | |
| − | During the Renaissance musical instruments were principally used in dance music and as accompaniment for voices. There are many vocal works with non-texted lines, which possibly were written for instruments. In addition, some vocal music was easily playable with instruments, [[chanson]]s, for example. Nevertheless, composers also produced more and more works exclusively for instruments, often based on dance music. (e.g. the ''Lachrimae Pavans'' by [[John Dowland]]). Often they did not specify the instruments to use although some, such as [[Anthony Holborne]], indicated that their music was suitable for the recorder.<ref>Anthony Holborne, ''Pavans, Galliards, Almains and other short Aeirs, both grave and light, in five parts, for Viols, Violins, recorders or other Musicall Winde Instruments'', published in 1599</ref> However, even when the composer specified, for instance, [[viola da gamba|viols]], the music could successfully be played on recorders. A taste for ensembles of like instruments developed in this era, and so arose "[[consort of instruments|consorts]]" (groups of musicians playing the same type of instrument) and the families of instruments of various sizes. The diversity of sizes in an instrument family allowed the consort to play music with a very large pitch range. Some of the well known Renaissance composers who wrote instrumental music, or whose vocal music plays well on recorders, were:<ref name=Wollitz>Kenneth Wollitz, ''The Recorder Book'', Knopf, 1984. ISBN 0-394-47973-4. See Chapter 8, "Repertory of the Recorder" by Colin C. Sterne.</ref>
| + | === Sporting === |
| | | | |
| − | [[Image:Tenorrecorder.jpg|thumb|right|Tenor Recorder in C, end of 16th century, possibly Germany. The Crosby Brown Collection of Musical Instruments, 1889 (89.4.3133), The Metropolitan Museum of Art.]]
| + | Whistles are used by referees to officiate sporting matches. The whistle was first used to stop a sports match by William Atack in an 1884 game of [[rugby]] in [[New Zealand]]. Before that game referees used their voices to control play. |
| − | * [[Guillaume Dufay]]
| |
| − | * [[Johannes Ockeghem]]
| |
| − | * [[Josquin des Prez]]
| |
| − | * [[Heinrich Isaac]]
| |
| − | * [[Ludwig Senfl]]
| |
| − | * [[Orlando di Lasso]]
| |
| − | * [[William Byrd]]
| |
| − | * [[John Dowland]]
| |
| − | * [[Anthony Holborne]]
| |
| | | | |
| − | [[Polyphony]] was the dominant music style of the Renaissance, but composers also began to write chordal pieces. The Medieval custom of juxtaposing 2 or 3 different melodies coexisted with "imitative polyphony". Imitative polyphony uses only one melodic line, but breaks it in pieces and divides it among the different parts. One part plays the melody, then the other parts play it in their turns. The music of this epoch was characterized by complex improvised ornamentation. | + | Some sports use different types of whistles, but one used around the world in many sports is the [[Fox 40]], a pealess whistle which creates sound using air pressure only. The Fox 40 is used in basketball, hockey, ice hockey, soccer and numerous other games, as it can be heard easily over the noise of the audience. |
| | | | |
| − | Many instruments survive from this period, including an incomplete set of recorders in [[Nuremberg]] which date from the 16th century and are still partially playable. Similar to the Medieval recorders, and unlike the Baroque style recorders typically used today, Renaissance recorders have a wide, more or less cylindrical bore. They have powerful low notes (much more so than the Baroque recorders). The wide bore means that a greater quantity of air is required to play the instrument, but this makes them more responsive.<ref>Trevor Robinson, ''The Amateur Wind Instrument Maker'', University of Massachusetts Press, 1981. ISBN 0-87023-312-2. See chapter 4, which includes a description of the construction and sound of Renaissance recorders.</ref> Many reproduction instruments, especially from the middle of the last century, can only be played reliably over a range of an octave and a sixth; but more and more makers are producing recorders capable of the full range that Ganassi<ref>Ganassi, ''Opera intitula Fontegara'', available in many modern facsimile editions</ref> reports, and with his fingerings in tune throughout. When modern music is written for 'Ganassi recorders' it is this type of recorder which is intended.
| + | Another whistle widely used for sports such as Touch Football, Rugby League and Rugby Union is the Thunderer 58.5 by [[Acme Whistles]]. It is a metal whistle containing a cork pea. It is used mainly because of its design that allows the user to create a deep, low-pitch shrill that can be heard from hundreds of meters away. |
| | | | |
| − | ===Baroque recorders=== | + | === Music === |
| − | [[Image:Altorecorder.jpg|thumb|left|Alto Recorder by I.B. Gahn, Nürenberg, Germany, ca. 1700. Made of ivory. The Crosby Brown Collection of Musical Instruments, 1889 (89.4.909). The Metropolitan Museum of Art.]]
| |
| − | Several changes in the construction of recorders took place in the seventeenth century, resulting in the type of instrument generally referred to as ''Baroque'' recorders, as opposed to the earlier ''Renaissance'' recorders. These innovations allowed baroque recorders to possess a tone which was regarded as "sweeter" than that of the earlier instruments,<ref>Jonathan Wainwright and Peter Holman, ''From Renaissance To Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century'', Ashgate Publishing, Ltd, 2005. ISBN 0-7546-0403-9</ref> at the expense of a reduction in volume, particularly in the lowest notes, and a slightly reduced range.
| |
| | | | |
| − | In the 18th century, rather confusingly, the instrument was normally referred to simply as [[Flute]] (''Flauto'') — the transverse form was separately referred to as Traverso. In the 4th [[Brandenburg Concerto]] in G major, [[Johann Sebastian Bach|J.S. Bach]] calls for two ''{{lang|it|flauti d'echo}}''. The musicologist [[Thurston Dart]] mistakenly suggested that it was intended for [[flageolet]]s at a higher [[Pitch (music)|pitch]], and in a recording under [[Neville Marriner]] using Dart's editions it was played an [[octave]] higher than usual on sopranino recorders. An argument can be made that the instruments Bach identified as ''flauti d'echo'' were echo flutes, an example of which survives in Leipzig to this day. It consisted of two recorders in f' connected together by leather flanges: one instrument was voiced to play softly, the other loudly. [[Antonio Vivaldi|Vivaldi]] wrote three concertos for the ''{{lang|it|flautino}}'' and required the same instrument in his opera orchestra. In modern performance, the ''flautino'' was initially thought to be the [[piccolo]]. It is now generally accepted, however, that the instrument intended was some variant of the sopranino recorder.<ref>Eleanor Selfridge-Field, ''Vivaldi's esoteric instruments,'' Early Music '''6''' (1978), 332-339. (RV443 and RV444 have a compass c' - f<math>'''</math>, while perplexingly RV445 has lowest note e.)</ref>
| + | [[Image:SambaWhistle.jpg|thumb|A samba whistle with three tones]] |
| | + | The whistle is used by a leader in [[batucada|samba percussion groups]] help to catch the percussionist's attention. The traditional samba whistle has three tones, but as the size of the percussion section rose, pealess whistles became more popular due to their high pitch and their loud sound. |
| | | | |
| − | ===The decline of the recorder===
| + | The [[slide Whistle]] (or swanee whistle) was a common instrument in some types of music{{which}} and was popular as a musical effect in the early days of radio and television. |
| − | The instrument went into decline after the 18th century, being used for about the last time as an otherworldly sound by [[Christoph Willibald Gluck|Gluck]] in his opera ''[[Orfeo ed Euridice]].'' Many reasons have been put forward for this decline. For example the main instrumental innovators of the time (such as the Hotteterre family) chose to concentrate their technological improvements on the flute, rather than the recorder.<ref>Eve E. O'Kelly, ''The Recorder Today'', Cambridge University Press, 1990. ISBN 0-521-36681-X. p.31</ref> Also, the fixed relationship of the windway to the labium limits the range of dynamics and expression of the recorder, when compared with the transverse flute.<ref>Donald Murray et al. ''Musical Instruments: History, Technology, and Performance of Instruments of Western Music'', Oxford University Press, 2004. ISBN 0198165048. p.122</ref> Other possible reasons include an apparent lack of sufficient professional players; a lack of appreciation of the true nature of the recorder by composers; the high pitch of the instrument; the problems (for makers and players) of utilising the full chromatic range; and a perceived "bad reputation" of the instrument based on all these factors.<ref>Waitzman, Daniel: ''The Decline of the Recorder in the 18th Century''. Published in ''American Recorder'' 8 no. 2 (Spring 1967). pp.47-51</ref>
| |
| − |
| |
| − | By the Romantic era, the recorder had been almost entirely superseded by the flute and clarinet. One variant of the recorder survived into the 19th Century concert halls, however: the keyed recorder known as the [[csakan]] or ''{{lang|fr|flute douce}}''.
| |
| | | | |
| − | The art of recorder making never completely died, though. Berchtesgaden Fleitl continue to be made to this day by Bernhard Oeggle, whose great-grandfather Georg learned his craft from Paul Walch (ca 1862-1873), the last of three generations of the Walch family of recorder makers. <ref>MacMillan, D. (2007). The Recorder 1800-1905. Recorder Magazine 27(4): 126-131.</ref> Similarly, the careers of the Schlosser family of woodwind makers from the towns of Oberzwota and Zwota can be traced over five generations. Their founder was Johan Gabriel Sr who was active in the early 19th century; Rüdinger, who seems to have been the last maker, died in 2005. Henirich Oskar (1875-1947) made instruments sold by the firm of Moeck in Celle and helped to design their Tuju series of recorders. <ref>Tarasov, N. (2005). Bahn fre! Kreative Blocckonstruktionen in 19 Jahrhundert. Windkanal 4: 14-17.)</ref>
| + | Pitch pipes are reed whistles used to help in tuning musical instruments and have been common since the 1850s. |
| | | | |
| − | ===Modern revival=== | + | === Others === |
| − | The recorder was revived around the turn of the 20th century by [[early music]] enthusiasts, but used almost exclusively for this purpose. It was considered a mainly historical instrument. Even in the early 20th century it was uncommon enough that [[Igor Stravinsky|Stravinsky]] thought it to be a kind of [[clarinet]], which is not surprising since the early clarinet was, in a sense, derived from the recorder, at least in its outward appearance.
| |
| | | | |
| − | The eventual success of the recorder in the modern era is often attributed to [[Arnold Dolmetsch]] in the UK and various German scholar/performers. Whilst he was responsible for broadening interest beyond that of the early music specialist in the UK, Dolmetsch was far from being solely responsible for the recorder's revival. On the Continent his efforts were preceded by those of musicians at the Brussels Conservatoire (where Dolmetsch received his training), and by the performances of the [[Bogenhauser Künstlerkapelle]] (Bogenhausen Artists' Band) based in Germany. Over the period from 1890-1939 the Bogenhausers played music of all ages, including arrangements of classical and romantic music. Also in Germany, the work of Willibald Gurlitt, Werner Danckerts and Gustav Scheck proceeded quite independently of the Dolmetsches.<ref>Eve E. O'Kelly, ''The Recorder Today'', Cambridge University Press, 1990. ISBN 0-521-36681-X. Chapter 1: The Revival</ref>. Thus the revival, far from being the work of one man, was the result of several strands coming and working together.
| + | Other whistles include shepherd's whistles, Swiss warblers, Chinese pigeon whistles, Chinese and Japanese kite whistles, communication tube whistles, whistling kettles and various toy whistles. |
| | | | |
| − | Among the influential virtuosos who figure in the revival of the recorder as a serious concert instrument in the latter part of the twentieth century are [[Frans Brüggen]], [[Roger Cotte]], [[Hans-Martin Linde]], [[Bernard Kranis]], and [[David Munrow]]. Brüggen recorded most of the landmarks of the historical repertoire and commissioned a substantial number of new works for the recorder. Munrow's 1975 double album ''The Art of the Recorder'' remains as an important anthology of recorder music through the ages.
| + | == Patents and inventors == |
| | | | |
| − | [[Carl Dolmetsch]], the son of [[Arnold Dolmetsch]], became one of the first virtuoso recorder players in the 1920s; but more importantly he began to commission recorder works from leading composers of his day, especially for performance at the Haslemere festival which his father ran. Initially as a result of this, and later as a result of the development of a Dutch school of recorder playing led by [[Kees Otten]], the recorder was introduced to serious musicians as a virtuoso solo instrument both in Britain and in northern Europe, and consequently modern composers of great stature have written for the recorder, including [[Paul Hindemith]], [[Luciano Berio]], [[John Tavener]], [[Michael Tippett]], [[Benjamin Britten]], [[Leonard Bernstein]], [[Gordon Jacob]], [[Steven Stucky]] and [[Edmund Rubbra]]. | + | In 1868 [[Joseph Hudson (inventor)|Joseph Hudson]] of [[Birmingham]], England, made the first whistle ever to be used by a [[football referee]]. [[New Zealand]] referee William Atack was the world's first to use a whistle to stop a game of sport in 1884. It was used for the first time (allegedly) at a game held at Nottingham Forest, prior to this referees used handkerchiefs to attract players' attention. |
| | | | |
| − | It is also occasionally used in popular music, including that of groups such as [[the Beatles]],<ref>For example, in ''Fool on the Hill'', according to [http://www.recorderhomepage.net/torture5.html, and it is also used by [[Dido (singer)|Dido]]. The Recorder Home Page maintained by Nicholas S. Lander]</ref> [[the Rolling Stones]],<ref>see, for example, Wikipedia article on [[Ruby Tuesday (song)]]</ref> [[Led Zeppelin]],<ref>See, for example, Wikipedia article on [[Stairway to Heaven]]</ref> [[Jimi Hendrix]]<ref>For example, in the song ''[[If 6 Was 9]]'', according to [http://www.recorderhomepage.net/torture5.html The Recorder Home Page maintained by Nicholas S. Lander]</ref> and [[Siouxsie_and_the_Banshees | Siouxsie & The Banshees]]<ref>For example in the song ''Green Fingers'', according to [http://www.discogs.com/release/386971 | Discogs.com's page on the album A Kiss in the Dreamhouse]</ref>
| + | By 1884, Joseph Hudson had perfected his whistles and he released the world's most successful whistle to date, the "Acme Thunderer" (the first ever pea whistle). The whistle has been used as an alarm or attention-getting instrument by all manner of industries, sports and revellers. It continues to sell in great quantities throughout the world. |
| − | | |
| − | {{Listen
| |
| − | |filename = Colin Ross - Etherea.ogg
| |
| − | |title = Etherea (Colin Ross, 1995)
| |
| − | |description = Recent [[new age music]] performed on the recorder. 3 min 8 sec
| |
| − | |format = [[Ogg]]}}
| |
| − | | |
| − | Some modern music calls for the recorder to produce unusual noises, [[rhythm]]s and [[Extended technique|effect]]s, by such techniques as [[fluttertonguing]] and [[overblowing]] to produce [[multiphonics]]. [[David Murphy (composer)|David Murphy]]'s 2002 composition ''Bavardage'' is an example, as is Hans Martin Linde's ''Music for a Bird''.
| |
| − | | |
| − | Among late 20th-century recorder ensembles, the trio [[Sour Cream Trio|Sour Cream]] (led by [[Frans Brüggen]]), the [[Flanders Recorder Quartet]] and the [[Amsterdam Loeki Stardust Quartet]] have programmed remarkable mixtures of historical and contemporary repertoire.
| |
| − | | |
| − | ====Use in schools====
| |
| − | [[Image:Recorder.jpg|thumb|A plastic recorder]]
| |
| − | In the mid 20th century, manufacturers were able to make recorders out of [[bakelite]] and (more successfully) plastics which made them cheap and quick to produce. Because of this, recorders became very popular in schools, as they are one of the cheapest instruments to buy in bulk.<ref>Margo Hall, ''Teaching Kids Recorder'', iUniverse, 2005. ISBN 0-595-36743-7</ref> They are also relatively easy to play at a basic level as they are pre-tuned. It is, however, incorrect to assume that mastery is similarly easy—like other instruments, the recorder requires significant study to play at an advanced level.
| |
| − | | |
| − | The success of the recorder in schools is partly responsible for its poor reputation as a "child's instrument". Although the recorder is ready-tuned, it is very easy to warp the pitch by over or under blowing, which often results in an unpleasant sound from beginners.
| |
| − | | |
| − | Although it is usually associated with younger school children, some middle and high schools use them during music courses such as music theory.
| |
| − | | |
| − | ==Makers==
| |
| − | The evolution of the Renaissance recorder into the Baroque instrument is generally attributed to the Hotteterre family, in France. They developed the ideas of a more tapered bore, bringing the finger-holes of the lowermost hand closer together, allowing greater range, and enabling the construction of instruments in several jointed sections. The last innovation allowed more accurate shaping of each section and also offered the player minor tuning adjustments, by slightly pulling out one of the sections to lengthen the instrument.
| |
| − | | |
| − | The French innovations were taken to London by Pierre Bressan, a set of whose instruments survive in the Grosvenor Museum, [[Chester]], as do other examples in various American, European and Japanese museums and private collections. Bressan's contemporary, [[Thomas Stanesby]], was born in [[Derbyshire]] but became an instrument maker in London. He and his son (Thomas Stanesby junior) were the other important British-based recorder-makers of the early eighteenth century.
| |
| − | | |
| − | In continental Europe, the [[Johann Christoph Denner|Denner]] family of Nuremberg were the most celebrated makers of this period.
| |
| − | | |
| − | Many modern recorders are based on the dimensions and construction of surviving instruments produced by Bressan, the Stanesbys or the Denner family.<ref>Information about makers is summarised from sleeve notes of David Munrow's ''The art of the Recorder'', 1975, written by Edgar Hunt, then Head of Renaissance and Baroque music at [[Trinity College of Music]], London</ref> Well-known larger contemporary makers of recorders include Angel (South Korea), Aulos (Japan), [[Moeck Musikinstrumente + Verlag|Moeck]] (Germany), Dolmetsch (England), Mollenhauer (Germany), Fehr, Huber, Küng (Switzerland) and Yamaha (Japan). Smaller workshops include names such as Takeyama, Von Huene, Rohmer, [[Adrian Brown (instrument maker)|Adrian Brown]], Prescott, Marvin, Cranmore, Amman, Beaudin, Blezinger, Boudreau, Netsch, Coomber, Grinter, Ehlert.<ref>A comprehensive database of current recorder makers worldwide is available [http://www.recorderhomepage.net/makers.html here].</ref>
| |
| − | | |
| − | ==Recorder ensembles==
| |
| − | [[Image:Different Sizes of Recorders.JPG|thumb|right|240px|(From top to bottom) Bass, tenor, alto, soprano and sopranino recorders]]
| |
| − | The recorder is a very social instrument. Many amateurs enjoy playing in large groups or in one-to-a-part chamber groups, and there is a wide variety of music for such groupings including many modern works. Groups of different sized instruments help to compensate for the limited note range of the individual instruments. Four part arrangements with a soprano, alto, tenor and bass part played on the corresponding recorders are common, although more complex arrangements with multiple parts for each instrument and parts for lower and higher instruments may also be regularly encountered.
| |
| − | | |
| − | One of the more interesting developments in recorder playing over the last 30 years has been the development of recorder orchestras. They can have 60 or more players and use up to nine sizes of instrument. In addition to arrangements, many new pieces of music, including symphonies, have been written for these ensembles. There are recorder orchestras in Germany, Holland, Japan, the United States, Canada, the UK and several other countries.<ref>See, for example, [http://www.praetorius.nl/en/index.asp Dutch Recorder Orchestra Praetorius], [http://www1.ocn.ne.jp/~mino/e/ensem.html Recorder Orchestras in Japan], [http://www.sfems.org/mpro/ Mid-Peninsula Recorder Orchestra], [http://www.sro.org.uk/ Scottish Recorder Orchestra] and [http://www.srp.org.uk/nyro/ SRP National Youth Recorder Orchestra]</ref>
| |
| | | | |
| | ==References== | | ==References== |
| − | {{reflist|2}} | + | {{reflist}} |
| | | | |
| | ==External links== | | ==External links== |
| − | {{commonscat|Recorders (Instruments)}}
| + | *[http://www.sccheadquarters.com/UserData/root/Files/Training/Proficiencies/Piping/Boatswains%20Call%20Handbook.pdf The Botswain's Call handbook The Marine Society & Sea Cadets]] |
| − | *[http://www.recorderhomepage.net/ Recorder Home Page] - a comprehensive website devoted to the recorder. | + | *[http://www.sifflets-en-terre-cuite.org/HtmlE/index.html Clay Whistles ] |
| − | *[http://www.metmuseum.org/toah/hd/recd/hd_recd.htm The Development of the Recorder, Heilbrunn Timeline of Art History, The Metropolitan Museum of Art]
| |
| − | *[http://www.recorderhomepage.net/torture1.html Instrument of Torture or Instrument of Music?] - an extensive overview of the recorder.
| |
| − | *[http://www.recorderhomepage.net/original.html Original Instruments, Makers and Collections] - comprehensive databases with details of 1,337 historical recorders, 345 makers and 246 instrument collections.
| |
| − | *[http://www.recorderhomepage.net/makers.html Recorder Makers] - a comprehensive database of 268 current recorder makers, with contact details and notes on their instruments
| |
| − | *[http://www.recorderhomepage.net/technique.html Recorder Technique] - a guide to sources of information on recorder technique
| |
| − | *[http://www.recorderhomepage.net/art.html Recorder Iconography] - an extensive descriptive catalogue of over 4,000 artworks depicting the recorder
| |
| − | *[http://www.recorderhomepage.net/records.html Recorded Recorders] - an extensive database of over 8,600 recordings featuring the recorder
| |
| − | *[http://www.recorderhomepage.net/quotes.html Literary and Theatrical References] - a database with details of 383 literary and theatrical references to the recorder
| |
| − | *[http://imslp.org/wiki/User:Clark_Kimberling/Historical_Notes_1 Access to IMSLP: 12 collections totaling 1000 free downloadable recorder solos with historical notes]
| |
| − | | |
| − | | |
| − | *[http://www.saers.com/recorder/ The Recorder Player's Page] - a web site with various utilities, articles and free recorder sheet music
| |
| − | *[http://www.blokfluit.org/ Stichting Blokfluit] - two very comprehensive catalogues with the original titles from ±1550 till today.
| |
| − | *[http://www.recorder-fingerings.com/ Recorder Fingerings] - recorder fingering charts and trill charts.
| |
| − | *[http://www.dolmetsch.com/method.htm Dolmetsch method] - a free and comprehensive but still in progress online recorder method. | |
| − | *[http://www.recorderhomepage.net/torture7.html Recorder Societies] - a database with details of 271 societies devoted to the recorder worldwide
| |
| − | *[http://www.americanrecorder.org American Recorder Society] - ARS homepage
| |
| − | *[http://www.srp.org.uk Society of Recorder Players] - nationwide organisation of recorder groups in the [[United Kingdom]]
| |
| − | *[http://www.ancientinstruments.co.uk Reconstructed bone flutes, sound sample and playing instructions]
| |
| − | *[http://www.flute-a-bec.com/acoustiquegb.html How the recorder works]
| |
| − | *[http://www.traditionalmusic.co.uk/playing-recorders/playing-recorder.html How to Play The Descant, Treble, Tenor and Bass Recorders complete tutorial book]
| |
| | | | |
| | [[Category:Flutes]] | | [[Category:Flutes]] |
| − | [[Category:Baroque instruments]] | + | [[Category:Whistles]] |
| − | [[Category:Fipple flutes]] | + | [[Category:Hiking equipment]] |
| − | [[Category:Recorder players| ]]
| |
| − | | |
| − | {{Link FA|de}}
| |
| − | {{Link FA|eo}}
| |
| | | | |
| − | [[als:Blockflöte]]
| + | [[de:Trillerpfeife]] |
| − | [[ca:Flauta dolça]]
| + | [[es:Silbato]] |
| − | [[cs:Zobcová flétna]]
| + | [[eo:Fajfilo]] |
| − | [[da:Blokfløjte]]
| + | [[fr:Sifflet]] |
| − | [[de:Blockflöte]] | + | [[gl:Chifre]] |
| − | [[et:Plokkflööt]]
| + | [[id:Peluit]] |
| − | [[es:Flauta dulce]] | + | [[it:Fischietto]] |
| − | [[eo:Bekfluto]] | + | [[nl:Scheidsrechtersfluitje]] |
| − | [[fr:Flûte à bec]] | + | [[ja:ホイッスル]] |
| − | [[fy:Blokfluit]]
| + | [[pl:Gwizdek]] |
| − | [[ko:리코더]] | + | [[pt:Apito]] |
| − | [[is:Blokkflauta]] | + | [[ru:Свисток]] |
| − | [[it:Flauto dolce]] | + | [[scn:Friscalettu]] |
| − | [[he:חלילית]]
| + | [[simple:Whistle]] |
| − | [[la:Tibia recta]]
| + | [[sr:Звиждаљка]] |
| − | [[lb:Blockflütt]]
| + | [[fi:Pilli]] |
| − | [[hu:Furulya]]
| + | [[sv:Visselpipa]] |
| − | [[nl:Blokfluit]] | + | [[tl:Silbato]] |
| − | [[ja:リコーダー]] | + | [[vec:Fiŝċiòt]] |
| − | [[no:Blokkfløyte]]
| |
| − | [[pl:Flet prosty]] | |
| − | [[pt:Flauta doce]] | |
| − | [[qu:Misk'i sirinka]] | |
| − | [[ru:Блокфлейта]] | |
| − | [[simple:Recorder]] | |
| − | [[sk:Zobcová flauta]] | |
| − | [[sl:Kljunasta flavta]] | |
| − | [[sv:Blockflöjt]] | |
| − | [[tr:Blokflüt]]
| |
| − | [[uk:Блокфлейта]]
| |
| − | [[zh-yue:牧童笛]] | |
| − | [[zh:直笛]] | |
A whistle or call is a simple aerophone, an instrument which produces sound from a stream of forced air. It may be mouth-operated, or powered by air pressure, steam, or other means. Whistles vary in size from a small slide whistle or nose flute type to a large multi-piped church organ.
History
The whistle has its roots dating back to ancient China, where night watchmen would blow into the tops of acorns to alert the towns to invading Mongolians.Template:Fact In ancient Egypt two blades of the papyrus plant along the Nile river were held together in between the palms. By blowing into the palms the papyrus leaves would make a loud vibrant sound.Template:Fact
Whistle-types
Many types exist, from small police and sports whistles (also called pea whistles), to much larger train whistles, which are steam whistles specifically designed for use on locomotives and ships. Although whistles have a musical characteristic (for example train whistles sound a minor-seventh musical chord) whistles are not usually considered "musical" in the sense of being able to play a chosen melody, but mainly the small whistles can also be used as a – very shrill and loud – noise and rhythm instrument. However, musical whistles exist, including any of several 2-octave musical instruments known as tin whistles (sometimes known as pennywhistles or low whistles), as well as the calliope (an array of separately actuable steam whistles), organ pipes and the recorder. Pea whistles are used in jazz and Latin music as a percussion instrument, and children often use them as a toy music instrument.
The whistle works by causing the smooth flow of air to be split by a narrow blade, sometimes called a fipple, creating a turbulent vortex which causes the air to vibrate. By attaching a resonant chamber to the basic whistle, it may be tuned to a particular note and made louder. The length of the chamber typically defines the resonance frequency. A whistle may also contain a small light ball, usually called the pea, which rattles around inside, creating a chaotic vibrato effect that intensifies the sound. Japanese bird whistles use several small balls and are half filled with water in order to reproduce the sound of a bird song.
A steam whistle works the same way, but using steam as a source of pressure: such whistles can produce extremely high sound intensities.
Sometimes, unintentional whistles can be set up. A common one is the opened sunroof of a car: air passing over the top of the vehicle can, at certain speeds, strike the back edge of the sunroof, creating a very low frequency whistle which is resonated by the closed interior of the car. Since the sound frequency is infrasonic, around 4 Hz, the effect is very uncomfortable for occupants, who feel the vibration rather than hear it. Such low frequencies can induce nausea, headache, disorientation and dizziness. The effect can be prevented by opening a side window a few inches. Subsonic whistles have also been developed for use as weapons, or to deliberately create a sense of uneasiness in an enemy.Template:Fact
Fields and usages
Police whistles
Examples of police whistles
In England since the Metropolitan Police Services inception in 1829, officers have been issued with the "Metropolitan" whistle. Prior to this, police used hand rattles,& with whistles only being used as musical instruments or toys. Both rattles and whistles were used to call for back-up in areas where neighbourhood beats overlapped, and following their success in London, the whistle was adopted by most counties in England.
J Stevens & Son & J Dixon & sons made police whistles from around the 1840s, T Yates made Beaufort whistles for the Liverpool Police in the 1870s. The 1880s and 1890s saw police whistles made by W Dowler & Sons, J Hudson & Co, J Barrall, R A Walton, H A Ward and A De Courcy & Co.
Police whistles fell into disuse in many countries in 1969, when early hand-held radios were brought into service. With the rise of the motor car, the whistle was no longer usefully audible in urban areas. The whistle is still used by some police forces today, and engraved ceremonial versions are sometimes presented to police officers upon occasions such as their retirement.
Industrial whistles
Industrial whistles are used for signalling and timekeeping both on railroad and ships, and in factories. Most of these whistles were steam powered and not standardized. Individual locomotives could be identified by their whistles. At noontime in industrial areas up into the 1950s whistles of every pitch could be heard, as each factory had a boiler and a whistle, if not full steam power.
Safety
Whistles are often used as warning devices or as safety devices serving to attract attention to the user. Some cyclists use a whistle as a substitute for a bell or horn. It should be noted, however, that many jurisdictions require that the warning device be permanently attached to the bicycle.
Rescue or survival whistles are often packed in survival kits and attached to personal flotation devices to allow a victim to signal for help. The whistle is audible at much greater distances than the human voice, and is less likely to cause exhaustion if used repeatedly. Survival whistles differ from pea whistles in that they are usually flat, so that water cannot collect inside if the user is immersed, for example after falling overboard from a boat.
Whistles can also produce sounds at pitches inaudible to the human ear such as dog whistles which can be heard by dogs at a range beyond that of human sensory perception, or at least conscious perception.
Boats
Ship's whistles must be very loud for safety on the seas. Modern ship's whistles can be electrically or steam driven. Template:RMS was originally equipped with three electric Tyfon whistles in 1932. They could be heard at least ten miles away and were tuned to 55 Hz, a low bass A note that was chosen for maximum passenger comfort despite the high sound pressure level.& One of the three whistles was taken back to Kockum Sonics in Malmö, Sweden, where it was refurbished for a new life of service aboard the RMS Queen Mary 2. Modern IMO regulations specify ships' whistle frequencies to be in the range 70-200 Hz for vessels that are over 200 meters in length.& Traditionally, the lower the frequency, the larger the ship. The Queen Mary 2, being 345 meters long, was given the lowest possible frequency (70 Hz) for her regulation whistles which means she carries both 70 Hz modern whistles and a single vintage 55 Hz whistle.
Trains
Railroads in particular used elaborate whistle codes for communication both within the train and with other trains. These methods are maintained today with motor-powered air horns. Trucks also use air horns, especially since they often have air brakes and so there is already a source of compressed air on board.
Train whistles generally produce three or four different frequencies at the same time to produce a non-major chord that is distinct, loud, and low in pitch.
Sporting
Whistles are used by referees to officiate sporting matches. The whistle was first used to stop a sports match by William Atack in an 1884 game of rugby in New Zealand. Before that game referees used their voices to control play.
Some sports use different types of whistles, but one used around the world in many sports is the Fox 40, a pealess whistle which creates sound using air pressure only. The Fox 40 is used in basketball, hockey, ice hockey, soccer and numerous other games, as it can be heard easily over the noise of the audience.
Another whistle widely used for sports such as Touch Football, Rugby League and Rugby Union is the Thunderer 58.5 by Acme Whistles. It is a metal whistle containing a cork pea. It is used mainly because of its design that allows the user to create a deep, low-pitch shrill that can be heard from hundreds of meters away.
Music
A samba whistle with three tones
The whistle is used by a leader in samba percussion groups help to catch the percussionist's attention. The traditional samba whistle has three tones, but as the size of the percussion section rose, pealess whistles became more popular due to their high pitch and their loud sound.
The slide Whistle (or swanee whistle) was a common instrument in some types of musicTemplate:Which and was popular as a musical effect in the early days of radio and television.
Pitch pipes are reed whistles used to help in tuning musical instruments and have been common since the 1850s.
Others
Other whistles include shepherd's whistles, Swiss warblers, Chinese pigeon whistles, Chinese and Japanese kite whistles, communication tube whistles, whistling kettles and various toy whistles.
Patents and inventors
In 1868 Joseph Hudson of Birmingham, England, made the first whistle ever to be used by a football referee. New Zealand referee William Atack was the world's first to use a whistle to stop a game of sport in 1884. It was used for the first time (allegedly) at a game held at Nottingham Forest, prior to this referees used handkerchiefs to attract players' attention.
By 1884, Joseph Hudson had perfected his whistles and he released the world's most successful whistle to date, the "Acme Thunderer" (the first ever pea whistle). The whistle has been used as an alarm or attention-getting instrument by all manner of industries, sports and revellers. It continues to sell in great quantities throughout the world.
References
External links
de:Trillerpfeife
es:Silbato
eo:Fajfilo
fr:Sifflet
gl:Chifre
id:Peluit
it:Fischietto
nl:Scheidsrechtersfluitje
ja:ホイッスル
pl:Gwizdek
pt:Apito
ru:Свисток
scn:Friscalettu
simple:Whistle
sr:Звиждаљка
fi:Pilli
sv:Visselpipa
tl:Silbato
vec:Fiŝċiòt
