For the note A, you just need to cover one more hole - the second hole using your middle finger. For the note B, simply place your left thumb on the back hole and your left index finger on the first hole at the front of the recorder. The recorder lessons on this site outline these techniques in detail. The easiest notes to start with on the recorder are B, A and G. Take care that your knee does not bump the recorder against your teeth. Note that the yellow and blue circles represent the tolerance zones with 0.5 mm and. The top F# for the alto (C# for the soprano) needs the bottom of the recorder to be covered, usually done with the knee. The relative position of the holes is important (tighter tolerance). Take a new belt and wrap it around the lip on the underside of the platter. Remove the old belt and give the surface a gentle clean. The lower two holes are normally smaller than the rest and positioned side by side so that the player can cover them with a single finger. ![]() Gently lift up the platter to reveal the belt and motor setup. The eight holes of the recorder are comprised of seven finger holes and an additional hole for the thumb of the upper hand. Remove the platter mat to expose the platter. These alternate fingerings are used for trills, and also make some difficult passages easier to play. Unplug your turntable from the power source. Some of the recorder notes have alternate fingerings, these are shown on the diagram. Moreover, each recorder note needs the right breath pressure. 'Cracking' the thumb hole, or getting the opening just right is a key aspect of recorder technique. Only 10 or less of the thumb hole is actually open for these notes. For the higher notes, the thumb hole is shown half open, like this. In particular high D and F for the alto (A and C for the soprano) need the breath to be exactly right. The thumb hole is at the top left of each diagram. The higher notes, C and above for the alto, G and above for the soprano won't sound properly if the breath pressure is too little. The low notes, G and below for the alto, D and below for the soprano won't sound properly if the breath pressure is too much. "Cracking" the thumb hole, or getting the opening just right is a key aspect of recorder technique. ![]() Only 10% or less of the thumb hole is actually open for these notes. Top 3 holes on the front of the recorder are covered or not by the first three fingers of your left hand and the bottom four by the fingers of your right hand. For the higher notes, the thumb hole is shown half open, like this The dot to the left is the hole at the back of the recorder and should be covered when required by your left thumb. Any type of notes can be in any position on the staff. The thumb hole is at the top left of each diagram. The quarter note, half notes, and whole note are three basic note lengths at the foundation of. The recorder notes, or more to the point, where the fingers go when making them, are shown below. I’m sure (read: I think) they carried over the knowledge of those notes on their arm to playing on the recorder later.Īnd hey, if you have students who forget to bring their recorder or you have an awkward 3 minutes to wait and can’t get the recorders out, well, everyone has an arm recorder (even if you don’t use the hole reinforcers)! If you’ve done this trick once all you have to do is make your hand into a fist, put it under your chin and viola, you’ve got an arm recorder.The recorder range is a little over two octaves. I tried it out this year and it was beautiful idea! The kids really did get excited, enjoyed it, loved the feel of the hole enforcers on their arm. stereo placement while capturing sounds in the center clearly. ![]() This means that kids get the idea and practice of those notes without the squeaking and squawking of actually blowing into the recorder. XY to AB patterns, the VRH-8 Ambisonic mic capable of recording 360 sound and the EXH-8. We used the hole reinforcers pre-recorder to get kids used to the idea of the finger placement and and the three big notes, B, A, and G. This was a delightful little trick that I learned from Greg Gooden at my Orff Level I training last summer.
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