Untitled Document

Thoughts on the Recorder - Video Playlist:

A detailed list of all the linked video illustrations

"A personal reflection on my life with the recorder: what I have learned, how I teach it, and my overall approach to music."

Check out 36 free online videos!

"An absolute must" -- Bart Spanhove

"Recommended reading for every musician...Delightful!" -- Luc Ponet

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Get printed book (400 pages) for 25 EUR + shipping.

Be sure to check out the following:
Read more, Introductory Video, Table of Contents, Reviews

Find 'Video Playlist' below

Videos 1 to 8 are part of the first chapter: Choosing and Caring for your recorder

Videos 9 to 20 are part of the second chapter: Recorder Technique

Videos 21 to 35: third chapter: interpretation of Different Historical Styles

Fourth chapter: Food for Thought (no videos: book only)

feel free to download the video playlist in excell format or in pdf format

FIND THE VIDEOS ON MY YOUTUBE CHANNEL:
www.youtube.com/geertvangele (click here to go directly to the playlist of the videos)

The pages in the column 'book page' refer to the printed book

VIDEO#	TITLE / LINK	BOOK PAGE	SUBJECT / LINK	TIME STAMP VIDEO
0	Introductory video	14

	FIRST CHAPTER

1	Choosing level 1	29
1/1		29	Same brand, diff. wood	2:15
1/2		30	Same wood, diff. Makers	4:35
1/3		30	Technical difficulties checking, incl. tuning	6:07
1/4		31	Choose softwoods	8:39

2	Choosing level 2	36
2/1		36	High vs low pitched	2:40
2/2		37	Differences btw colors low pitch	6:17

3	Choosing level 3	40
3/1		41	Diff. btw level 2 & 3 handmades	2:22

4	Breaking in your recorder	42
4/1		43	Diff. btw similar instr. '70's vs new	1:55
4/2		44	Breaking in: long notes 5min/day + warming up	6:06
4/3		45	Long notes explained	6:48
4/4		45	Further breaking in	8:18
4/5		50	Block is too high?	10:23

5	Maintenance kit	52
5/1		54	TLC for recorders	0:42
5/2		52	Maintenance kit	3:14

6	Oiling	54
6/1		61	2 oiling methods	2:30
6/2		61	How to oil	3:46

7	Cleaning	70
7/1		71	Wiping the recorder	0:35
7/2		63	Knocking out the block	2:00
7/3		65	Block too tight	3:50
7/4		74	Cleaning windway	5:00
7/5		79	Anti condens	6:42
7/6		81	Declogging plastics	7:57
7/7		82	Threading a tap	8:58

8	Quick tuning fixes	83
8/1		89	Octaves	1:35
8/2		92	Applying wax	3:40
8/3		92	tuning F-Fis-G	5:06
8/4		98	Lower overall pitch	7:32

	SECOND CHAPTER

9	Posture / Fingers	103
9/1		103	General posture	0:39
9/2		110	Finger position	3:16
9/3		111	Finger movements	3:38
9/4		112	Active fingers	3:57
9/5		114	Thumb position	4:50
9/6		116	Bottom notes execution	5:19

10	Weight distribution / Tonguing
10/1		117	Distributing the weight	0:40
10/2		118	Finding good weight distribution	1:06
10/3		121	Support finger	2:50
10/4		123	Tonguing	3:19
10/5		123	Basic tonguing	3:34
10/6		125	Stopping the sound	7:28

11	Breathing / Legato	127
11/1		128	Different kinds of breathing	0:37
11/2		130	How to breathe low	2:59
11/3		132	Legato playing	5:51
11/4		133	Sounding effect of legato	6:14
11/5		133	Representation of legato	7:23
11/6		135	Exercise with voice	8:54
11/7		135	Crescendo and decrescendo	9:55
11/8		136	Applying a dance feel	11:40

12	Basic coordination	137
12/1		137	Simple remedy	0:38
12/2		138	Practice fingers seperately from rhythm	2:05
12/3		140	Exercise for more complex rhythms	5:10
12/4		142	Practicing faster passages	7:50

13	Trills / Double tonguing
13/1		147	Trill exercise	0:44
13/2		149	Double tonguing DuuKuu	2:10
13/3		152	Double tonguing DuuDl'	5:44
13/4		153	Double tonguing TuuRuu	8:38
13/5		154	Triple tonguing	10:53

14	Explosive tonguing / top notes / accents
14/1		154	Explosive tonguing	0:37
14/2		157	Explosive double tonguing	6:33
14/3		158	Top notes / pinching technique	7:30
14/4		160	Breathing accents	10:22

15	Advanced coordination	161
15/1		162	General guidelines	0:35
15/2		164	7 step exercise	3:00
15/3		170	3 step exercise	18:00

16	Shading and pulling away	171
16/1		172	Shading and pulling away	0:38
16/2		172	Glissando	1:36
16/3		172	Shading	2:10
16/4		172	Fingers 4&5	2:46
16/5		174	Little finger 7	4:52
16/6		174	Pulling away	7:19
16/7		175	Glissando exercise	9:33

17	Basic sound production	176
17/1		177	Underblowing	0:38
17/2		177	Overblowing	1:04
17/3		177	Variety in breath pressure	1:31
17/4		178	Blowing in cheeks	2:38
17/5		179	Projecting the sound	4:54
17/6		180	The center of the sound	6:40

18	Advanced sound production: stage 1	181
18/1		181	Breath support	0:50
18/2		184	Notes in a curve	3:23
18/3		188	Practicing a slow melody	8:56
18/4		189	Defining overtone rich area	11:18
18/5		190	Finetuning projecting the sound	12:47
18/6		192	Singing with your inner voice	14:27

19	Vibrato	196
19/1		197	Exercise register breaks	0:36
19/2		197	Altering frequency / amplitude	2:35
19/3		198	Practice from slow to fast	3:21
19/4		198	Practice on long notes in music	4:04
19/5		199	Practice faster vibratos in music	4:26
19/6		199	More control - vibrato moves in chest area	4:42
19/7		199	Difference with throat vibrato	5:15

20	Advanced sound production: stage 2	200
20/1		203	Detecting the sine wave sound	1:30
20/2		204	Feeding the sine wave sound	2:49
20/3		204	Encountering gritty sounds	4:35
20/4		206	Applying shadings / vibratos	8:03
20/5		206	Example of max. resonance	9:51
20/6		207	Staying in tune	10:05

	THIRD CHAPTER

21	Reading from historical scores	216
21/1		216	Two voices simulate chords	2:14
21/2		217	Example of fac simile print	4:06
21/3		217	Example of manuscript	4:20
21/4		218	Fac simile edtions after 1680: differences with modern notation	4:36
21/5		219	Fac simile editions before 1680: differences with modern notation	6:15

22	Interpretation through analysis	225
22/1		226	Working from bigger sections towards small details	1:09
22/2		226	Tips for working on analysis	2:44
22/3		227	Cross reference parts	5:38
22/4		228	Understanding the meaning of each segment of the text	7:29
22/5		230	Assign different characters to each segment	9:02
22/6		230	Example of storyline in a piece	9:48

23	General interpretation of fast movements	240
23/1		241	Playing around with different articulations	1:36
23/2		241	Choosing the articulations on the spot	2:51
23/3		242	Adding explosive tonguing and breathing accents	3:51

24	Interpreting Italian and German high Baroque	246
24/1		248	Finding the correct tempo	0:54
24/2		249	Baroque vs romantic interpretation	2:10
24/3		250	Contrasting small segments in melody	2:22
24/4		250	Working with pulses, stressing certain notes	3:52
24/5		251	Execution of trills	5:27
24/6		251	Working with rubato	6:28

25	Interpreting Italian early Baroque	253
25/1		254	Early baroque instruments vs. late baroque instruments	0:54
25/2		255	Keeping a steady tactus throughout the piece	4:53
25/3		256	Having a close connection with the bass	5:59
25/4		257	Being aware of the harmonic color	7:28
25/5		257	The measure of three	8:06
25/6		259	Rhythmic liberties	11:20
25/7		261	Accenti and passagi	15:38
25/8		262	Trills	16:13

26	Interpreting rococo music	263
26/1		263	Elaborateness in contrast and effect	1:28
26/2		264	Baroque vs Rococo repertoire of Telemann	4:20
26/3		265	Searching for typical Rococo style elements	8:41

27	Interpreting tonal contemporary repertoire	265
27/1		267	Baroque interpretation vs. tonal contemporary repertoire	1:23
27/2		267	Carrying the line	2:40
27/3		268	Vibrato	4:00
27/4		269	Understanding the piano part: what to look for in the score	4:50
27/5		270	Example of baroque interpretation vs. tonal contemporary	6:51

28	Interpreting French baroque music	271
28/1		273	Different dance movements explained	0:55
28/2		274	Different characterizations explained	4:33
28/3		275	The French harmony	10:39
28/4		275	Dragging moments vs. urging forward	12:59
28/5		275	Searching for a natural dance motion	17:05
28/6		276	Ornaments	17:53
28/7		277	French vs. Italian style	18:34
28/8		278	Steps to learn French interpretation	22:13
28/9		279	Learning order of French ornaments	27:19
28/10		282	Difference between carrying line in French baroque vs. tonal contemporary	36:22

29	Interpreting English baroque music	282
29/1		284	How French should this repertoire be played?	1:44
29/2		284	Trills	2:25
29/3		285	Different dance movements explained	4:25
29/4		286	The ground	9:36

30	Experimental contemporary music	287
30/1		292	Example of a instructions page	1:09
30/2		292	Freedom of interpretation	2:50
30/3		294	Improvisational character	4:30

31	Jazzy repertoire	295
31/1		296	Learning to play jazz inequality	1:46
31/2		297	Jazz phrasing	4:26
31/3		297	Playing on top of the beat	5:46
31/4		298	Playing on the back of the beat	6:28
31/5		298	Playing on the backbeat (second and fourth beat)	7:22
31/6		299	Jazzy ornaments	8:19
31/7		299	Learning different jazz styles	9:50

32	Renaissance repertoire: how to familiarize yourself with its music	300
32/1		302	Starting from homophonic chansons	0:35
32/2		302	Dances by Holborne	1:30
32/3		302	Early baroque pieces, written in the renaissance idiom	1:40
32/4		303	Search for harmony	2:43
32/5		304	Example of analizing a consort piece	4:08
32/6		304	Text interpretation starts to appear in beginning of 16th century	7:16
32/7			Example of text colorations	8:50

33	Renaissance repertoire: some thoughts on playing in consort	305
33/1		305	Mixing and matching instruments	0:34
33/2		306	Baroque idiom vs. renaissance idiom	1:20
33/3		306	Singing quality of individual voices	3:23
33/4		306	Playing with rubato	4:22
33/5		307	Playing shorter notes in the bass	5:09
33/6		307	Playing shorter notes in inner voices	6:30
33/7		307	Seperating leaps	7:49
33/8		308	Steady tactus	8:54
33/9		308	Stronger bass with well defined attacks	9:22
33/10		308	Softer soprano	11:11
33/11		309	Syncopations	11:45
33/12		309	Searching for pure tuning	14:10
33/13		310	Taking advantage of text underlay	14:48
33/14		311	Starting and stopping an ensemble	19:05

34	Renaissance repertoire: notation, diminutions	312
34/1		312	Overview of different early notations	0:33
34/2		313	Diminutions	1:47
34/3		314	Example of passagi	3:18

35	Medieval repertoire	316
35/1		316	2 principles we adhered to	0:58
35/2		317	Example of tempo with sad poem	2:30
35/3		318	Tactus and disconnect between text and music	2:57
35/4		318	Example of gentle swaying feeling	4:13
35/5		319	End of 15th century: range extends downward	5:40
35/6		319	Tenor should be the strongest voice	7:08
35/7		320	Countertenor is interesting rhythmically, but optional	8:40
35/8		322	Expressivity and medieval repertoire	11:04
35/9		323	Disconnect between tempo and atmosphere	12:30
35/10		324	Gentle dance character	13:32
35/11		325	Subtle articulations	16:11
35/12		325	Imitate text on the recorder	16:23
35/13		325	Short, small vibrati	16:44
35/14		326	Comparing to medieval paintings	17:07
35/15		326	Finding a contemporary parallel	18:24
35/16		328	Medieval recorders	20:50