You are such a wonderful teacher and communicator! You literally make everything interesting! I have fallen in love with recorders and recorder music since I found your videos. I have played classical piano all my life and never gave much thought to recorders, but now I’m kind of obsessed with them! The instrument itself and all the different woods are just as beautiful as the music. I’m currently teaching myself , and my grandchildren who love it as well! I just wish you lived near me so I could take private lessons from you! You are awesome Sarah, thanks for all you do!!!!❤
You've convinced me to get back into recorder playing. I'm a professional bassoonist, but it would be so nice to practice ornamentation without the technical issues of the bassoon in the way. I'm sure you understand this 😉
Your ornamentation videos are lovely and informative. Many UA-cam producers who talk about composition don't mention much about ornamentation, neither as a cue for players to improvise nor in the form of writing precise instructions for a synth to execute. Thanks.
People who think the recorder can only play hot cross buns definitely never heard of you or Lucie Hirsch Michala Petri Erik bosgraaf perkelt Wild Holz and the composer's of baroque Renaissance medieval recorder composers and modern beatbox recorders Medhat Mamdouh altaj Zipporah and the Celtic repertoires and of course Tali Rubenstein Jazz Recorder Virtuoso. Recorders Revival Is Now And The Future. It will always be around I swap recorder as my first instead of guitar which now my second instrument.thank you for your inspiration and keeping the light in all of us recorder community. Cheers
OK, I have just started playing in my first ever recorder and am now terrified. I have never been very good at ornamentation and it must be really difficult on the recorder since the fingering is tricky. Maybe once I have sorted out the chromatic scale which will be easier once I can play my recorder for longer than 5 minutes per day. Great video Sarah
i have not enough thumbs 👍 for this video...❤ it is the most important video for me and my way with recorder playing and i hope you will make more videos about this, maybe with examples, exercise and practice tips
I don't know enuf about the recorder to be classified a nerd but I enjoy these (Ted) talks! If anything it will help me appreciate and understand a performance better.
This video was very helpful!! I am practicing to be less awkward and more brave with my ornamentations. I look forward to experimenting with your advice trying them out with my renaissance group. Also, I bought the digital version of your favourite melodies and those variations you wrote for the wellerman are so much fun to play!!
This is brilliant, thank you so much. I am so grateful for all you do to help the wonderful world of recorder playing! I’ve been overwhelmed by the apparent difficulty of ornamentation. In this video you have made it accessible. And I live your new book. Many many thanks 😊
Another tool you should use is look for places where the composer has written out a specific passagio in his musc. Extracting the underlying melodic context from an ornamented passage is just as important a skill as adding ornaments to a simple melody. This leads to several useful things: 1) Noticing where musicians thoughtbit was appropriate to place ornamentations. 2) Once you notice that a particular passage is an ornament, you may have the option to substitute a different ornament, including an easier one if the one written in is too difficult for you. 3) Once you recognize places with written out ornaments, you can start looking (or listening) for places in other peices of music with a parallel construction where a similar ornament could be added.
Unrelated to the video (because I actually haven't finished watching it yet) but I have an idea for something for you to talk about on your channel that I think you/your audience would be interested in! (If you don't mind the unsolicited recommendation) The Suzuki Andes! It's essentially a melodica that uses dozens of miniature recorders instead of reeds. And it sounds delightful (or abysmal, depending on who's playing it...much like the recorder). It's a little pricier than your average melodica, at about 100-150 bucks (which is the only reason I haven't bought one for myself yet), but that's not unreasonable for how unusual and niche it is imo. It definitely has shortcomings compared to an actual recorder, but being able to play a recorder-ish intrument that's fully chromatic is pretty dang cool.
Come to think of it, because it's polyphonic, and as such it can play chords, this instrument shouldn't have been named the Suzuki Andes Recorder Keyboard... It should've been named the ReCHORDer.
I have often heard you advise us to "listen, listen, listen" to Renaissance music, etc.; but except for a very few UA-cam examples that I have found, I have no idea how to find recordings of Renaissance recorder music. I have Spotify, too. Please provide some guidance.
Made a playlist 😌 Each is just a starting point- check out the full albums and artists too open.spotify.com/playlist/1h3r68qh1vnuZBDSLQj2u9?si=qvy8Lq4uSnyWy1do7mR6VA
Great video, again! One question: In my earlier recorderplayer days I always embellished "by the book", but is it a big sin to embellish what just sounds good?
If you are a hobbyist you have the great advantage to have the right to do anything you want and like, without any consequences 😊 We have here an excellent tutorial about Renaissance ornamentation, it would be a sin not to make the effort to familiarize with it and try to apply it to Renaissance music, but in the end you play for the love of it. So in the end you have the right to chose the way you prefer to play.
The Renaissance ideal is to have the ornamentation feel spontaneous and a natural outgrowth of the underlying music. Even if you only have a few or a single ornament you feel comfortable with, you want to make it sound to the listener like you made up the ornament on the spot. Don't forget to make use of different articulation patterns to help hide that you are using the same passage over and over. Also differentiate between practice and rehearsal on one hand and public performance on the other. In order to have the best public performance experience, you need to stick to what you are most comfortable with, but in order to get comfortable, you need to not be afraid to push the envelope when you are in practice and rehearsal.
I thought that passaggi was an Italian dish or was that Sophie Loren 🤔🤔 Apologies, I'm having a misogynistic boomer moment, it will pass in a moment when I nod off for a nap.
Thank you for mentioning my courses, Sarah! ❤
You are such a wonderful teacher and communicator! You literally make everything interesting! I have fallen in love with recorders and recorder music since I found your videos. I have played classical piano all my life and never gave much thought to recorders, but now I’m kind of obsessed with them! The instrument itself and all the different woods are just as beautiful as the music.
I’m currently teaching myself , and my grandchildren who love it as well! I just wish you lived near me so I could take private lessons from you! You are awesome Sarah, thanks for all you do!!!!❤
Sarah is something rare and wonderful, to be sure. 💯🙂
Excellent videos, so entertaining and informative!!
Amazing video. Outstanding command of the subject and just great presentation. 🙏 Thank you!
Thank you! ❤️
Thank you so much, Sarah! This examples were really helpful for knowing more literature! Hugs from Mexico!
You've convinced me to get back into recorder playing. I'm a professional bassoonist, but it would be so nice to practice ornamentation without the technical issues of the bassoon in the way. I'm sure you understand this 😉
Your ornamentation videos are lovely and informative. Many UA-cam producers who talk about composition don't mention much about ornamentation, neither as a cue for players to improvise nor in the form of writing precise instructions for a synth to execute. Thanks.
Great stuff - most everything you espoused works when I play the amazing pieces in the Fitzwilliam Virginal Book ty
People who think the recorder can only play hot cross buns definitely never heard of you or Lucie Hirsch Michala Petri Erik bosgraaf perkelt Wild Holz and the composer's of baroque Renaissance medieval recorder composers and modern beatbox recorders Medhat Mamdouh altaj Zipporah and the Celtic repertoires and of course Tali Rubenstein Jazz Recorder Virtuoso. Recorders Revival Is Now And The Future. It will always be around I swap recorder as my first instead of guitar which now my second instrument.thank you for your inspiration and keeping the light in all of us recorder community. Cheers
OK, I have just started playing in my first ever recorder and am now terrified. I have never been very good at ornamentation and it must be really difficult on the recorder since the fingering is tricky. Maybe once I have sorted out the chromatic scale which will be easier once I can play my recorder for longer than 5 minutes per day. Great video Sarah
i have not enough thumbs 👍 for this video...❤
it is the most important video for me and my way with recorder playing and i hope you will make more videos about this, maybe with examples, exercise and practice tips
Thank you so much!! I'm Re working on 3 Recercadas 1553 from Diego Ortiz for alto recorder, adding acconpainment!!🎉
Ornaments are what I need more help on. Thanks for this informative video, Sarah.
A most helpful video - and I was also delighted by the shout-out to the Ars Subtilior!
I love how many similarities that are between the practice, philosophy of renaissance, ornamentation, and jazz!
I don't know enuf about the recorder to be classified a nerd but I enjoy these (Ted) talks! If anything it will help me appreciate and understand a performance better.
I luv your Galliard and Estampie very much! Like all are amazing! Your taste in music is becoming my taste in music.
This video was very helpful!! I am practicing to be less awkward and more brave with my ornamentations. I look forward to experimenting with your advice trying them out with my renaissance group. Also, I bought the digital version of your favourite melodies and those variations you wrote for the wellerman are so much fun to play!!
Thanks. Inspiration. More study and play possible
This is brilliant, thank you so much. I am so grateful for all you do to help the wonderful world of recorder playing! I’ve been overwhelmed by the apparent difficulty of ornamentation. In this video you have made it accessible. And I live your new book. Many many thanks 😊
I play the ocarina, not the recorder, but this is so helpful!! Thank you ❤
thanks a lot
I think a good source to look for graces is Bovicelli's treatise.
Another tool you should use is look for places where the composer has written out a specific passagio in his musc. Extracting the underlying melodic context from an ornamented passage is just as important a skill as adding ornaments to a simple melody.
This leads to several useful things:
1) Noticing where musicians thoughtbit was appropriate to place ornamentations.
2) Once you notice that a particular passage is an ornament, you may have the option to substitute a different ornament, including an easier one if the one written in is too difficult for you.
3) Once you recognize places with written out ornaments, you can start looking (or listening) for places in other peices of music with a parallel construction where a similar ornament could be added.
Your THE Recorder techer
Unrelated to the video (because I actually haven't finished watching it yet) but I have an idea for something for you to talk about on your channel that I think you/your audience would be interested in! (If you don't mind the unsolicited recommendation)
The Suzuki Andes!
It's essentially a melodica that uses dozens of miniature recorders instead of reeds. And it sounds delightful (or abysmal, depending on who's playing it...much like the recorder). It's a little pricier than your average melodica, at about 100-150 bucks (which is the only reason I haven't bought one for myself yet), but that's not unreasonable for how unusual and niche it is imo. It definitely has shortcomings compared to an actual recorder, but being able to play a recorder-ish intrument that's fully chromatic is pretty dang cool.
Come to think of it, because it's polyphonic, and as such it can play chords, this instrument shouldn't have been named the Suzuki Andes Recorder Keyboard... It should've been named the ReCHORDer.
Thanks for your tips The recorder will be amazing with Maqam Al-Saba the East
Gosh we are a nerdy bunch! 🤣🤣🤣
A good graces is highland bagpipe chanter technique.
Hi Sarah you are wonderful & to pleasant! What is the recorder you are playing in this video?
(thank you)*⁷
I have often heard you advise us to "listen, listen, listen" to Renaissance music, etc.; but except for a very few UA-cam examples that I have found, I have no idea how to find recordings of Renaissance recorder music. I have Spotify, too.
Please provide some guidance.
Made a playlist 😌 Each is just a starting point- check out the full albums and artists too open.spotify.com/playlist/1h3r68qh1vnuZBDSLQj2u9?si=qvy8Lq4uSnyWy1do7mR6VA
Great video, again! One question: In my earlier recorderplayer days I always embellished "by the book", but is it a big sin to embellish what just sounds good?
If you are a hobbyist you have the great advantage to have the right to do anything you want and like, without any consequences 😊 We have here an excellent tutorial about Renaissance ornamentation, it would be a sin not to make the effort to familiarize with it and try to apply it to Renaissance music, but in the end you play for the love of it. So in the end you have the right to chose the way you prefer to play.
The Renaissance ideal is to have the ornamentation feel spontaneous and a natural outgrowth of the underlying music. Even if you only have a few or a single ornament you feel comfortable with, you want to make it sound to the listener like you made up the ornament on the spot.
Don't forget to make use of different articulation patterns to help hide that you are using the same passage over and over.
Also differentiate between practice and rehearsal on one hand and public performance on the other. In order to have the best public performance experience, you need to stick to what you are most comfortable with, but in order to get comfortable, you need to not be afraid to push the envelope when you are in practice and rehearsal.
What about a collaboration with Early Music Sources? 😁
This isnt related to the video but any tips to keep from getting hyperventilated while playing? Thanks.
" Con trahhh vastiy" oo pinky out.... Later... NAEHHHEErDDSS .. TEE HEE heee lolzzzz
Can you make Xiao Ornamentation on a recorder?
I have always seen the embellishment you call "Groppo" called "Gruppetto" in italian music literature
One passaggio, two passaggi.... like one mafioso, two mafiosi...
I thought that passaggi was an Italian dish
or was that Sophie Loren 🤔🤔
Apologies, I'm having a misogynistic boomer moment, it will pass in a moment when I nod off for a nap.