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Fingering the Recorder

by Nicholas S. Lander

Preamble

These notes concern both alto and soprano recorders with modern ('English') fingering systems. For a given fingering the note produced on an alto will be indicated first followed in parentheses by that produced on a soprano (or tenor, although it will sound an octave lower). Fingering will be indicated as follows:

0 123 4567

thumb and all fingers on

- -2- ----

second finger of left hand on alone

/

thumb-hole pinched

0 1-3 45/-

finger 6 half-holed

0 1/3 4567

finger 2 partially closed

4*

trill with this finger

(5)

optional fingering

/1-- 4--/ X

bell hole closed against one's knee

Thus eb''(bb'')=0 -23 4-6- indicates that the fingering given will produce eb'' on an alto and bb' on a soprano.

It will be useful to list the reasons for using alternative fingerings. We do so to enable us to:

  1. avoid difficult fingering sequences, particularly at speed
  2. play slurs easily and without the "clicks" and extra notes produced by complicated finger movements
  3. play trills and other ornaments impossible or clumsy with conventional fingering
  4. correct faulty tuning
  5. correct tuning at high and low breath pressures
  6. achieve various special effects such as the production of variation in timbre, microtones and chords.

Points 4, 5 and 6 do involve advanced techniques. Tuning should not be a problem with modern instruments if they are well cared for. A good quality recorder can be returned to the maker for retuning. Tuning at high and low breath pressures pertains to volume control. This is highly controversial and of doubtful value anyway. Rather than change the volume itself, recorder players usually resort to contrasting articulation and/or other psychological tricks to give an illusion of dynamics. Special effects mentioned in point 6 are, for most players, probably of acoustical interest only, although an increasing number of contemporary compositions do demand such effects.

Points 1, 2 and 3, however, are directly applicable to the performance of all recorder players. Since the techniques necessary to overcome them are easily mastered, it is with these three aims that I will be most concerned here. Up

Notes in the lower octave: f'- f'' (c''-c''')

f'' (c''') is usually fingered 0 -2- ----. There are dozens of possible fingerings for this note! The main alternative is - 123 ---- which is commonly used in passage work and for slurs to and from notes lower than c'' (g''). This fingering is used for the f#''- e#'' (c#'''- b#'') trill with - 123 45-- as the d#'' (a#'') turn, a trill all but impossible with conventional fingerings.

The second most important alternative fingering for f'' (c'') is 0 --3 4-(/)- used for the f''-eb'' (c'''- bb'') trill with 0 1-3 45/- as the d''(a'') turn. This last combination is invaluable in passage work involving the sequence f''- eb''- d''- eb''- f'' (c'''- bb''-a''- bb''- c''').

e'' (b'') is usually fingered 0 1-- ----. The commonest alternative for this note is 0 -23 ---. This is used for f''- e'' (c'''- b'') slurs and trills and in fast passage work. It is used for slurs to and from the following notes in the upper register: c''' (g'''), b'' (f#'''), bb'' (f''') and a'' (e'''). When used in the above downward slurs the alternatively fingered e'' (b'') is often slow to speak and hence virtually useless at speed: this is not a problem with upwards slurs. The alternative e'' (b'') is useful for slurs to and from notes below c#'' (g#''). It is also useful for the e'' (b'') turn of the g''- f'' (d'''- c''') trill.

The f''- e'' (c'''- b'') trill turned on d'' (a'') is something of a problem. The alternative e'' (b'') given here should be used for the trill. For the turn, d'' (a'') could be fingered 0 -23 45--, but this has too feeble a tone on most recorders to be of much use here. In all but very rapid music it is best to turn this trill with the normal d'' (a''), returning to f'' (c''') via the normal e'' (b''), using the alternative only for the notes of the trill itself.

eb'' (bb'') is usually fingered 0 1-3 4---. An alternative for this note is 0 1-3 -56-- which, is useful for slurring to and from b'(f#''/gb'')=0 123 -56--. As David Bellugi (pers. comm.) points out , this fingering brings the b'-d#''-f#'' arpeggio of Vivaldi's C major concerto for sopranino recorder very conveniently under the hand with b'= 0 123 -56, d#''= 0 1-3 -56 and f#''=- 1-3 -56.

d'' (a'') is usually fingered 0 12- ----. The most useful alternative is 0 1-3 45/-, used primarily for the eb'- d'' (bb'- a'') trill. This trill can be fingered 0 1-3 45*/- and should be turned using normal fingerings for c'' (g'') and d'' (a'') when turned downwards and for c'', d'' and eb'' (g'', a'' and bb'') when turned upwards: the alternative d'' (a'') is used only for the notes of the trill itself. This rather complicated manoeuvre can be achieved with lots of practice. With ordinary fingerings this trill is impossible.

0 1-3 45/- is used for the eb''- d'' (bb'- a'') slur and for the turn of the f''- eb'' (c'''- bb'') trill as noted above. this fingering is also useful in slurs from d''-g'' (a''- d''') where g'' (d''') is fingered - - -3 4--- in certain passages, particularly where these alternate with slurs from eb''- g'' (bb''- d''').

A less effective alternative for d'' (a'') is 0 -23 45-- which can be used where the sequence f''- e''- d''- e'' (c'''- b''- a''- b'') is encountered in very rapid music, and for the turn of the f''- e'' (c'''- b'') trill as discussed earlier.

c#'' (g#'') is probably best fingered 0 12- 45/-, but some recorders respond well to 0 12- 45-- or 0 12- 456-. The correct fingering must be determined for each instrument. This note is often painfully out of tune in ensemble work and needs careful attention!

For the c#''(g#'')-b'(f#'')' trill use 0 123* -56- with the trilling finger kept low to the instrument to control tuning of the c#''(g#''). This trill must commence and end (if turned upwards) with a normally fingered c#''(g#'').

c'' (g'') is usually fingered 0 123 ---. For the db''- c'' (ab''- g'') or c#''- c'' (g#''- g'') trill use 0 12- 456*7 or 0 12-45*67 using normal fingerings for the notes of the turn.

b' (f#'') is usually fingered 0 123 -56-, but 0 123 4*5-- may be used for rapid b' - a' (f#''- e'') trills, although such trills must commence and end (if turned upwards) with a normally fingered b' (f#'').

bb' (f'') is usually fingered 0 123 4-67, but 0 123 45*-- can be used for a rapid bb'- a' (f''- e'') trill which also must begin and end (if turned upwards) with the normal 0 123 4-67 for bb' (f''). 0 123 45*/- is useful for the bb'- ab' (f''- eb'') trill; a turn for this trill is not feasible. Up

The second octave: f''- f''' (c'''- c'''')

f#''/gb'' (c#'''/db''') is usually fingered - 12- ----. The only useful alternative for this note is 0 --- ----, although its tone tends to be somewhat harsh. This alternative is used for slurs to and from e'' (b''). It is also useful for the f#''- e'' (c#'''- b'') trill which must commence and end with the normally fingered f#'' (c#''').

f#''/gb'' (c#'''/db''') can be fingered / 123 4567 in the slur a''- g''- f#''- g'' (e'''- d'''- c#'''- d''') using a'' (e''')=- 123 4-67 and g'' (d''')=- 123 4567.

g'' (d''') is usually fingered - -2- ----. An unusual alternative is - --3 4---, used for slurs from g'' (d''') to and from eb'' (bb'') and d'' (a'')=0 1-3 45/- where it is expedient.

The alternative fingering of the a''- g'' (e'''- d''') slur and trill is one of the more difficult aspects of recorder technique! An upward slur from g'' (d''') to a'' (e''') performed with conventional fingerings will produce a pronounced "clicking" or "chirping" noise; with precise fingering this is hardly apparent on the downward slur from a'' (e''') to g'' (d'''). Whilst "chirping" of this kind may well be appropriate to Couperin's Le Rossignol en Amour and to those charming pieces in The Bird Fancier's Delight, it sounds clumsy and out of place in more serious music. Both the g''- a'' (d'''- e''') slur and the trill require alternative fingering to eliminate this disturbing noise.

The best fingering for the a''- g'' (e'''- d''') trill itself is - 123 45*67. The same fingering serves for the g''- a'' (d'''- e''') slur. Unfortunately, recorders vary tremendously in their response this fingering: it is best thought of, perhaps, as a basis for one's own experimentation in search of a practical alternative. On recorders where g'' (d''')=- 123 4567 is unduly flat it might be corrected by playing - -23 45*67 or - 123 45*6/, although the resulting a'' (e''')=- -23 4-67 or - 123 4-6/ might then be too sharp and in turn need correction by ensuring that the trilling finger (5) hardly leaves the instrument. One must find the best compromise.

It is imperative that this trill ends on a normally fingered a'' (e''')=(/) 123 45-- when turned upwards. In very fast music f'' (c''')=- 123 ---- can be used followed by the alternative g'' (d'''') used in the trill itself and ending with a'' (e''')=(/) 123 45--. In all but the fastest passages normal fingerings are preferable for the notes of the turn since the tone quality of the alternatives is poor. The "click" at the end of such a turn can be minimised by precise finger-work.

When this trill is turned downwards it can be done via f'' (c''') = - 123 ---- followed by a normally fingered g'' (d''') and f'' (c'''). Most amateurs' playing is completely marred by the inability to perform this trill (or the slur) effectively. Unfortunately it is by far the commonest trill encountered on the recorder!

A third alternative g'' (d''') is / 123 456/, used mostly for the a''- g''- a'' (e'''- d'''- e''') mordent and, very occasionally, for rapid repeated slurs to high notes, particularly c''' (g''').

Note that downward slurs from a'' (e''') to g'' (d''') use the ordinary fingerings unless the slur goes down and then up again.

g#''/ab'' (d#'''/eb''') is usually fingered - -23 456-. The most useful alternative is / 123 45/- which is used for a''- g#'' (e'''- d#''') slurs and trills. Note that the timbre of this alternative matches that of the notes in the second octave: more advanced players can exercise their musicianship in choosing the one of these two fingerings which matches best the other notes in the passage in which it occurs. The difference in timbre is noticeable enough to make such an effort worthwhile.

The ab''- g'' (eb'''- d''') trill is, as Rowland Jones (1973) points out, a crux in recorder technique. He gives 12 possibilities to try. Of these - 123 4*567, - 1*23 4*567, - 123 4567*, - 1*23 4567*, - -23* 4*56- and possibly - --3* 567- seem the most likely. All but the last two can be turned using f'' (c''')=-123 ---- . The second last alternative listed here gives an f'' (c''') turn with 0 -2- -56-.

The g#''- f#'' (d#'''- c#''') trill is probably best fingered / 123 456*7, with the trilling finger (6) really leaving the instrument to compensate for the flat g#'' (d#''')=/ 123 45-7.

For the a#''- g#'' (e#''- d#''') or bb''- ab'' (f'''- eb''') trill - 123 45*6- is used.

a'' (e''') is usually fingered / 123 45--, but - 123 45-- and - -23 45-- are little different in either intonation or tone quality. For the g''- a''- bb'' (d'''- e'''- f''') slur the note a'' (e''') is produced by - 123 4-67 with g'' (d''')=- 123 4567 and bb'' (f''')=- 123 4-6-. The use of this alternative for a'' (e''') in the a''- g'' (e'''- d''') upward slur and trill has already been discussed.

bb''/a#'' (f'''/e#''') is usually played/ 123 4-6-. Three alternatives are commonly used. The first is / 123 4-/-, used for the bb''- ab'' (f'''- eb''') or a#''- g#'' (e#'''- d#''') trill, fingered / 123 45*/-.

The second is / 123 -5/-, used for the b''- a#'' (f#'''- e#''') trill, fingered / 123 -5/*- with / 123 45/- as the g#'' (d#''') turn.

The bb''- a'' (f'''- e''') trill can be fingered / 123 45*-- with the trilling finger (5) close to the instrument to compensate for the rather sharp bb'' (f''')=/ 123 4---. This trill must always begin with the normal bb'' (f''') = / 123 4-5--. Use - 123 45*67 for the a''- g'' (e'''- d''') turn finishing with the normal g'' (d''') = - -2- ---- if turned downwards, and with the normal bb'' (f''') = / 123 4-6- if turned upwards.

bb''- a'' (f'''- e''') trills can also be fingered - 123 4-67* with g'' (d''')=- 123 4567 for the turn.

b'' (f#''') is usually fingered / 123 -5--. The only useful alternative is / 12- 45-- for the mordent or turn after c#''' (g#''') and for the c#'''- b'' (g#'''- f#''') trill which can be turned with the normal a'' (e''') - / 123 45--.)

c''' (g''') is usually fingered / 123 ----. It can be flattened with / 123 ---7 or / 123 --6-. The latter fingering provides an alternative for the c'''- bb'' (g'''- f''') trill fingered / 123 4*-6-. For the db'''- c''' (ab'''- g''') mordent or trill use / 12- 4-6*- with the normal bb'' (f''')=/ 123 4-6- for the turn. Note that this second alternative cannot be tongued.

c'''- bb'' (g'''- f''') trills can be fingered / 123* 4-6-, but should be commenced with c'' (g''')=/ 123 ---- since the alternative is slow to speak.

c#'''/db''' (g#'''/ab''') is usually fingered / 12- 4---. This note is notoriously slow to speak, requiring exceedingly delicate tonguing. It is one to check carefully when purchasing a new recorder. / 12- -5-- can be used in the common a''- b''- c#'''- d''' (e'''-f#'''- g#'''- a''') slur (or its reverse). / 123 4567 should be used for the e'''- d#'''- c#''' (b'''- a#'''- g#''') slur since it is impossible to slur from d#''' (a#''') to the slow-speaking c#''' (g#''') without a violent "click".

d''' (a''') is usually fingered / 12- ----. It is not an easy note and is often distressingly flat.

/ 123* 456/ can be used for the difficult eb'''-d''' (bb'''- a''') trill using normal fingers for the notes of the turn. Another fingering for this trill is / 12/ 456*/, again turned using normal fingering. The latter is also used for the equally difficult e'''-d''' (b'''- a''') trill fingered / 12/ 456*/*, likewise turned with normal fingerings. Both these trills are impossible with normal fingerings due to severe "clicking". A further use of this alternative is for the turn of the f'''- e''' (c''''- b''') trill.

eb'''/d#''' (bb'''/a#''') is usually fingered / 12- 456- which is often sharp, thus many recorders require / 12- 456/. The use of / 12/ 456*/ for the eb'''- d''' (bb'''- a''') trill has been discussed. Another alternative for this trill is to use eb''' (bb''')=/ 12- --6/ with normal fingerings for the turn; this still "clicks", but not so intolerably.

e''' (b''') is usually fingered / 12- 45--. Apart from the / 12/ 45- - for the e'''- d''' (b'''- a''') slur discussed above, the only useful alternative for e''' (b''') is / 1-- ----. This alternative is often flat and cannot be tongued. It is used solely in a rapid d'''- e'''- f''' (a'''- b'''- c'''') slur in order to avoid the very noisy "click" between d''' (a''') and e''' (b''') in favour of the much quieter one between e''' (b''')=/ 1-- ---- and f''' (c'''')=/ 1-- 45--.

f''' (c'''') is fingered / 1-- 45--. On many recorders this is often a difficult note to sound, particularly when the windway is blocked with condensation. It is especially sensitive to the degree of closure of finger-hole 0, which varies from instrument to instrument. Creative use of lower mordents and slurs from notes below f'' (c''') will make production of this fractious note less anxiety- producing. And practicing notes in the third octave (see below) will do much to help the player relax and enjoy the highest note in the second octave!

David Bellugi (pers. comm.) points out that sometimes it can be useful to finger the high f''' (c'''') / 123 45-- X. This fingering can be played very softly, too. It is especially useful for the g''' (d'''')-f''' (c'''') trill, fingered / 123 4*5*-- X.

On some instruments reducing the bore-diameter at a certain point in the head joint can remarkably improve the high f''' (c''''). A plastic ring (cut from those plastic rings that are often used to bind photocopies) at about the level of the maker's name on head joints of obstinate recorders will suffice. Further instructions can be found in Brown (1989) and Kottick (1975). Up

The third octave: f'''- c'''' (c''''- g'''')

In the following "X" indicates the total closure of the bell hole by pressing against one's knee. The technique of bell-stopping is, of course, widely used by bagpipe players and has an analogy in French horn playing too, so we needn't feel self-conscious about it. Its use on the recorder was mentioned by Martin Agricola (1529) and Girolamo Cardano (ca 1546), so there are historical precedents for its use. In the absence of a bell key, it is hard to do unless the player is seated.

f#'''/gb''' (c#''''/db'''') is a bugbear for recorder players. There is no easy solution and this note is seldom convincing, even in the hands of expert players. The following would seem most useful: / 1/3 4567, / 1/3 4/67, / 123 4567, / 1-3 4567, / 1(2)3 45-7, / --- 45-- and / 1-3 4-6/X. Of these the last is very much to be preferred on purely musical grounds, but its use is not always possible and it looks a trifle inelegant. It produces an easy, clear note of good tone and usually acceptable intonation.

Of the other fingerings / 1(2) 345-7 is probably the best since it is easy to produce on most recorders. Like all the un-stopped fingerings, it is noticeably sharp on many recorders and must be blown as softly as possible. If it is to be sustained (rare) then perhaps one could lower the remaining finger(s) unobtrusively to give / 123 4567 once the note has sounded. This fingering is exceedingly awkward at speed but can be coupled with g''' (d'''')=/ 1(2)3 -5-7.

/ --- 45-- is to be used for trills and slurs from e'' (b''')=/ 12- 45-- and from f''' (c'''')=/ 1-- 45--. This fingering cannot be tongued.

One's choice of these or other possible fingerings is dependant on the characteristics of the particular instrument being used and on the musical context. Authentic uses of f#''' (c#'''') are uncommon in the baroque repertoire and may signify the use of an instrument pitched in g (d) on which the fingering is simply / 12- 45--. Informed contemporary composers provide alternative passages or suggest a transposition down an octave if necessary.

g''' (d'''') is normally fingered / 1-3 4-6/. The more awkward variant / 1(2)3 -5-7 is useful in conjunction with f#''' (c#'''')=/ 1(2)3 45-7.

Notes beyond g''' (d'''') are simply not useful on most recorders and are rarely called for except in contemporary writing. Some notable exceptions are to be found in the works of Telemann. In his Concerto in F Major for alto recorder and strings (Hortus Musicus 130) Telemann writes passages requiring a''' and g#'''. In a well-known Sonata in F Major from Der Getreue Musicmeister he writes a c'''', the highest note encountered in the baroque repertoire.

g#'''/ab''' (d#''''/eb'''') is used increasingly often by contemporary composers writing in a more or less conventional style. It can be played with / 1-3 ----, / 1-3 --6-, / -23 ---- or / -23 -5/-. The first two fingerings are often slow to speak but are useful in slurs from g''' (d''''), although both tend to be flat. More acceptable are the last two fingerings.

a''' (e'''') can be produced easily with / -23 -5/- X or / 123 45/- X. The latter tends to be soft and veiled. / -2- ---- is often suggested but tends to be loud, harsh and noticably flat.

bb''' (f'''') is best produced by / 12- 45/- X. It speaks easily, has an excellent timbre and is well in tune.

b''' (f#'''') is readily obtainable from the fingering / 12- 45-- with strong tonguing and high breath pressure. If necessary, its tuning can be adjusted upwards by allowing vents 1 and 2 to leak a little thus: / //- 45--

c'''' (g''''), used in the Telemann sonata mentioned above, can be produced by blowing aggressively on / 1-- 4---. This is invariably harsh and very flat. Its tuning can be adjusted upwards by allowing vent 1 to leak a little thus: / /-- 4---. A note of far superior quality can be produced by shading the window with the right hand whilst fingering / 123 ----. This is not possible in the context in question, but is to be preferred wherever the note is to be sustained.

For other notes above g''' (d'''') the extensive tables given by Waitzman (1978), Vetter (1973), Hauwe (1992) and Hanning (1998) will be invaluable. Other useful comments will be found in Rowland Jones (1973).

The volume, intonation and response of notes above c'''(g'''') can be controlled by leaking the first finger hole, a technique described in an aerated article by Robinson (1997) as an "extraordinary discovery" made by Walter van Hauwe but surely known for centuries by adventurous recorder players. In 1535, Silvestro Ganassi wrote: "Mark that you can make every note softer by means of uncovering the hole a little and giving less breath accordingly." Up

General Considerations

The recorder has a very rich vocabulary of fingerings with duplicate fingerings for almost all notes. This article has made a somewhat artificial distinction between "usual" fingerings and "alternative" fingerings. The choice of the appropriate combination of fingerings to achieve the desired end result constitutes the grammar of recorder fingering. It is an appreciation of this grammar rather than the mere unorganized knowledge of scores of different fingerings which contributes towards a true understanding of recorder technique.

Avoid the use of alternative fingerings without a definite purpose in mind. If asked at any time why you are using a particular fingering for a note you should be able to reply without hesitation.

Avoid the use of alternatives in consort work since they are often slightly out of tune. Remember that just like conventionally fingered notes those played with alternative fingerings can be flattened by blowing softly and sharpened by blowing strongly. As far as possible, avoid the use of alternative fingerings on accented notes and long notes.

Cultivate a flexibility of mind about fingering. Remember that alternative fingerings are not unique to the recorder by any means. Learning other wind instruments, particularly renaissance recorders and capped reeds (crumhorns, cornemuses, kortholts, rauschpfiefen, etc.) will help develop this flexibility.

I would again stress the need to commence and end trills with normal fingerings wherever possible.

For pinched notes in the second and third octaves the intonation of alternatives can be adjusted by varying the thumb aperture size as well as by limiting the height of trilling fingers and controlling breath pressure.

The general principles governing fingering selection on the transverse flute set forth by Rockstro (1928) are equally valid for the recorder.

  1. Never use different fingerings which cause an alteration of pitch for similar notes that are near each other [unless, as frequently is the case on the recorder, one wishes to make use of such pitch differences to achieve dynamic variation].
  2. Do not select a sharp fingering for one note and a flat fingering for another which is adjacent to it, but on the contrary, choose a set of sharp, or a set of flat notes, so that all may be corrected together by a slight change in the method of blowing.
  3. For slow music, select the fingerings which give the best notes, no matter how difficult they may be. Indifferent notes may occasionally be tolerated in very rapid passages, for the sake of smoothness and facility.
  4. Avoid all unnecessary changes. The chief object of extra fingerings being the preservation of smoothness, they will be needed comparatively seldom in staccato passages, for which many of them would be wholly unfitted.
  5. Any finger-holes may be kept closed during performance of rapid passages provided no appreciable injury to intonation or tone be caused by such closing.

Waitzman (1978) makes the added suggestion that fingerings should be selected which require the fewest finger movements, especially those in contrary motion, in going from one note to the next, particularly in fast passages.

From these notes one could surmise the dictum that the use of alternatives should be avoided wherever possible, a view supported by Davenport (1964), Hunt (1977), Rowland-Jones (1973). As the latter writer succinctly puts it: "Alternative fingerings make the recorder harder to play, not easier"!

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