Saying the word "territory" as a Spaniard would say it with the "flipped" r immediately made sense to me for "ru" which was completely baffling to me at first as an old-stock Canadian. I basically articulate on my flute the same as I would "jazz-scatting" to myself walking down the street. Diddle is a must, especially for rip-snortin' fast CPE Bach concertos. Rachel Brown omg.
Two years ago I started to learn traverso by myself. Very useful were some books, like J.D. Boland, Tromlitc, Rachel Brown, B. Kuijken. After almost 10 months of time, spent with Tromlitz, coming back to Quantz, I realised that what I could ketchup from Tromlitz was extremely useful for better understanding Quantz. I wish I watched this video much earlier.
Interesting, and thank you for posting! Given Quantz' suggestion for slurring in fast passages, why do we see it taught that two notes slurred, two notes detached is more a phrasing used in Classical era music rather than baroque (examples give for baroque being a succession of two slurred notes, or three notes slurred and one note detached (or the reverse)? Also, are there sources that deal with which patterns of slurring to use and when, when playing baroque music (I guess it would be the same questions as when to bow change in the stringed instruments in baroque music)?
Hi thanks for watching. I’m not sure what you mean when you say ‘we see it taught’. I certainly see in places like the Ozi method du bassoon of 1803 where he very often uses successions of two slurred noted in fast passages (note: a method written near the end of his career). In the music of the 18th century I often see the slurring patterns being either a direction from the composer to help create a certain affect, or as a way of keeping the harmonic structure/larger compositional hierarchy clear to the listener. Just remember that we are the ones who classify the music of the 18th century into two categories, that of baroque and classical. They didn’t at the time. There was a plurality of styles at any given time, so I wouldn’t necessarily make a hard-and-fast rule about how one should slur. That being said, it might be worth looking up the Leopoldo Mozart treatise on playing the violin, and Georg Muffat's Observations on the Lully Style of Performance.
@@burnbassoon Hehehe given the breadth of your video inclusions I guessed you might have. I've always been a string and percussion bod, but like exploring the mechanics of other disciplines. Your work is much appreciated
Hi, as you can see in the Hotteterre section, the tonguing patterns are not equal. The syllable patterns are one way of demonstrating an inequality in note values which are otherwise printed the same.
@@burnbassoon yes, indeed. It’s interesting because one can be introduced to inégale as a concept on its own but here it is more like a consequence of tonguing. I think the idea that things should not sound too measured is probably a good principle to remember too.
1. You're trying to pronounce "diddle diddle diddle" quickly in succession. That of course doesn't work. Try "diddle-liddle-liddle". Is that what you'd consider "modern double tonguing"? 2. Your video also doesn't mention "t-k-t-k" (or "d-g-d-g") which can be done very fast, but which recorder players generally advise against. Now I need to dig up my Quantz and see if he mentions that. 3. Does the interpretation of "ru" differ depending on your native language? I can only pronounce it as a flick forward of the (tip of the) tongue. But the "du" is also a forward tongue movement, and so naturally du-ru can never be fast because the tongue has to make an empty movement back in between. Questions.....
1:37 LOL I wasn't prepared for this.😂😂
Haha!
Saying the word "territory" as a Spaniard would say it with the "flipped" r immediately made sense to me for "ru" which was completely baffling to me at first as an old-stock Canadian. I basically articulate on my flute the same as I would "jazz-scatting" to myself walking down the street. Diddle is a must, especially for rip-snortin' fast CPE Bach concertos. Rachel Brown omg.
Ok this is epic
Thanks!
Just starting to read my Quantz. Thanks for this video - I'll keep your guidance in mind and attempt to avoid the pedantry.
Glad I could help! There is a lot of great stuff in there. Enjoy!
Two years ago I started to learn traverso by myself. Very useful were some books, like J.D. Boland, Tromlitc, Rachel Brown, B. Kuijken. After almost 10 months of time, spent with Tromlitz, coming back to Quantz, I realised that what I could ketchup from Tromlitz was extremely useful for better understanding Quantz. I wish I watched this video much earlier.
Great video! Thank you!
Thanks, I’m glad you liked it!
Very helpful, thank you!
You’re welcome!
Interesting, and thank you for posting! Given Quantz' suggestion for slurring in fast passages, why do we see it taught that two notes slurred, two notes detached is more a phrasing used in Classical era music rather than baroque (examples give for baroque being a succession of two slurred notes, or three notes slurred and one note detached (or the reverse)?
Also, are there sources that deal with which patterns of slurring to use and when, when playing baroque music (I guess it would be the same questions as when to bow change in the stringed instruments in baroque music)?
Hi thanks for watching. I’m not sure what you mean when you say ‘we see it taught’. I certainly see in places like the Ozi method du bassoon of 1803 where he very often uses successions of two slurred noted in fast passages (note: a method written near the end of his career).
In the music of the 18th century I often see the slurring patterns being either a direction from the composer to help create a certain affect, or as a way of keeping the harmonic structure/larger compositional hierarchy clear to the listener.
Just remember that we are the ones who classify the music of the 18th century into two categories, that of baroque and classical. They didn’t at the time. There was a plurality of styles at any given time, so I wouldn’t necessarily make a hard-and-fast rule about how one should slur.
That being said, it might be worth looking up the Leopoldo Mozart treatise on playing the violin, and Georg Muffat's Observations on the Lully Style of Performance.
Do I hear refernce to the BeeGees there? (Check Bill Bailey Bassoon)😜
I’m not sure it’s a conscious reference, but I certainly have seen everything by Bill Bailey!
@@burnbassoon Hehehe given the breadth of your video inclusions I guessed you might have. I've always been a string and percussion bod, but like exploring the mechanics of other disciplines. Your work is much appreciated
@@steveh7866thanks for watching!
Amazing 👏👏👏 Thank you Andrew!!
Josep Tatay thank you!
This is great stuff, thanks. Also, Quantzmania!
oboedj thanks! 💪💪💪
And how does this relate to inégale?
Hi, as you can see in the Hotteterre section, the tonguing patterns are not equal. The syllable patterns are one way of demonstrating an inequality in note values which are otherwise printed the same.
@@burnbassoon yes, indeed. It’s interesting because one can be introduced to inégale as a concept on its own but here it is more like a consequence of tonguing. I think the idea that things should not sound too measured is probably a good principle to remember too.
Thanks! Turkey-diddle diddle-turkey.
1. You're trying to pronounce "diddle diddle diddle" quickly in succession. That of course doesn't work. Try "diddle-liddle-liddle". Is that what you'd consider "modern double tonguing"?
2. Your video also doesn't mention "t-k-t-k" (or "d-g-d-g") which can be done very fast, but which recorder players generally advise against. Now I need to dig up my Quantz and see if he mentions that.
3. Does the interpretation of "ru" differ depending on your native language? I can only pronounce it as a flick forward of the (tip of the) tongue. But the "du" is also a forward tongue movement, and so naturally du-ru can never be fast because the tongue has to make an empty movement back in between.
Questions.....