The recorder isn’t what you’d call an extreme instrument. Playing one doesn’t require huge reserves of stamina like a concert pianist or the astonishing coordination between hands and feet demanded from an organist. But the recorder has its own challenges - it’s an instrument which requires control and delicacy. Orchestral wind instruments have been developed and adapted over the centuries, adding keys and making tweaks to improve them. In contrast, the recorders we play most of the time are based heavily upon instruments crafted 250 years ago.
The nature of the recorder brings limitations – a smaller range than many other wind instruments, and weaknesses in the extremes of this range. Our low notes can only be played gently, while the upper reaches of the recorder are best played with a fuller tone. Good composers will write music which works with these limitations, making the most of them, but it’s still up to us to ensure we can play with confidence throughout the range.
This edition of the Score Lines blog is designed to help you learn to love your recorder’s low and high notes and I have tips and advice to get you playing these ranges with confidence and consistency.
Are there notes which fill you with dread?
Maybe you fret about playing low notes cleanly? Or perhaps your jaw clenches with nervousness as a top F appears on your musical horizon? We’ve all experienced moments when we’ve mentally crossed our fingers (doing so physically would be problematic), taken a deep breath and said a silent prayer to the recorder playing gods that a given note will speak cleanly. Go on, admit it, you’re quietly nodding in agreement, aren’t you?!
My aim today is to equip you with the tools to play the extremes of your recorder’s range without mental or physical tension, so you can play any note with confidence and consistency. I can’t promise instant results, but if you persevere you’ll get there…
A bad workman blames his tools…
There is a degree of truth in this old saying, but it’s worth giving your recorder a quick MOT, nevertheless. With a little care, all recorders will play low notes with ease, but high ones can be another matter. The majority of instruments are capable of playing the highest notes cleanly, but if you persistently have problems they may be exacerbated by your recorder.
The usual culprit is the thumbhole – take a quick look at yours now. Is it perfectly round, with clean edges? If so, you’re good to go. On the other hand, if it’s distinctly mis-shapen, with evidence of wear and tear on one side it may be time to give it some TLC. Worn thumbholes usually come about as a result of overenthusiastic thumb technique – digging your nail into the hole in an attempt to produce clean high notes. Of course, if you’re not the instrument’s first owner that may not be down to you!
Fortunately there’s a solution to this problem - thumb bushing. A good recorder technician will be able to add a small ring of hard wearing material (these days it’s plastic, although historically ivory was often used) to the edge of the thumbhole to restore the clean, round opening. I would recommend this if your recorder’s thumbhole is looking ragged – you may find it solves some of the challenges. Of course, I would also recommend you consider modifying your technique so the same thing doesn’t happen again!
While you’ve got your recorder handy, also take a look at the labium, the opening on the front of the headjoint, just beneath the windway. Is the edge of the labium clean and straight? A labium edge with dips or nicks will affect your sound, often adding a husky quality. Many years ago a pupil of mine had trouble with top notes so we sought advice about her recorder. On close inspection the repairer noted the labium had a distinct dip (created by years of jabbing a finger in there while blowing out excess condensation) and this had an adverse result. Sadly this particular recorder was beyond repair but it did at least explain the dodgy top notes.
Now you’ve (hopefully) given your recorder a clean bill of health let’s dive in and do some extreme recorder playing!
How hot is your breath?
Before we tackle our recorders’ extremes, let’s have a think about the breath you use to play these notes. This is relevant to both high and low notes so it’s a good starting point.
Hold your hand in front of your mouth and breath out gently, noticing the sensation you feel on the skin of your hand. Is the air warm or cool? If you’re exhaling gently the air will be warm. This is because it takes time to travel through your windway, picking up warmth from the blood vessels it passes over. This is the sort of breath you need to use for low notes.
Now blow out over your hand again, this time moving the air quickly. You may find it helpful to purse your lips to focus the stream of air and help it increase in speed. What do you notice now? The air is cooler, isn’t it? Because it’s moving more quickly it has less opportunity to pick up heat from your body and it’s still cool when it leaves your mouth. This is the type of air you should use for high notes.
Thinking about warm and cold air can be useful when you begin exploring the extremes of your recorder, because using the wrong type of airstream will make it harder to play these notes. If you want to relate these temperatures to the way you use your diaphragm, warm air requires just a gentle level of support, while cool air demands a firmer squeeze of the stomach muscles to acquire the extra speed. If you need a refresher on diaphragm breathing for recorder playing take a look here.
Logically, low notes shouldn’t be difficult. All you have to do is cover the holes and blow, right? Yes, that’s true, but there’s more to it than that! It’s important to consider the ingredients needed to create a lovely low note on the recorder. There are three required to bake this particular cake…
Fingers – this is the obvious one – if you don’t cover the holes fully the note won’t play.
Breath – you need gentle (warm) air for low notes
Articulation – tongue strokes need to be gentle
Diagnosing fragile low notes
If your lowest notes often split or refuse to speak cleanly you need to do some detective work to understand why. Let’s look at the three ingredients I mentioned just now…
Go gently…
Not completely sealing the fingerholes is a common problem, especially if you’re playing a larger size of recorder. Take a moment to make sure your bottom joint (assuming it’s adjustable – some descants and sopraninos have fixed footjoints) is in exactly the right position for your hands. I often have to make tiny adjustments to the position of the footjoint with my tenor and bass recorders. Without doing so the bottom notes become unreliable because I fail to seal the holes entirely. There’s no reason why you shouldn’t make a small pencil mark on the back of the middle and bottom joints to help you line them up accurately and get the position right every time.
Now play the lowest note on your recorder and see what happens? Perhaps that small adjustment made a difference. If not, try again but blow more gently – remember, you need to use warm air. If that made a difference, maybe you’ve been blowing too strongly. The lowest notes on most recorders are weaker than the rest, so they need to be treated gently.
Still no luck? Let’s try taking the third ingredient away and see if that resolves the problem…
Think about how you would clean a pair of glasses – trust me, this is relevant! I wouldn’t mind betting you bring them to your lips and breathe gently over them, creating a mist on the lenses which you them wipe away with a cloth. Am I right? I call this ‘hurring’. Now try your lowest note again but begin it by ‘hurring’ into the windway. By doing this you’re taking away the articulation – the breath comes straight from your lungs without interruption from the tongue. What’s more, the flow of air is warm and gentle.
If this approach successfully helps you produce clean low notes, now try reintroducing the tongue, articulating using a gentle ‘doo’ articulation. If you tongue too forcefully the fragile low notes will crack – don’t try too hard! Try moving the tip of your tongue a fraction farther back in your mouth, increasing the distance between it and your teeth and softening the articulation a little. I wrote about gentle articulation in relation to playing smoothly in this blog – you may find it a helpful refresher.
Relaxation is crucial
Hopefully these techniques will now have you playing low notes more easily. There’s one other element which is key for all recorder playing and that’s relaxation. If you’re tense your body works against itself, using energy which could be better employed for other things. This is particularly important when it comes to your fingers. Aim to keep them relaxed at all times, using just enough pressure to seal the holes and no more. Remember, if you’re pressing too hard you won’t be able to feel the vibration of the air column beneath your fingers – use this to guide you. I covered this in a recent blog about finger technique so do take a look here.
Scaling the heights
Now let’s consider the recorder’s highest notes. The pitch may be different but the principles are remarkably similar. Once again there are three ingredients to ‘bake’ successful high notes…
Thumb position – for high notes just one of your digits is critical – the thumb
Breath – for successful high notes you need a fast (cool) air flow
Articulation – this should be moderate – there’s no need for strong tonguing
Finding your thumb’s Goldilocks zone
The exact technique used to open the thumbhole to create upper register notes is a much debated topic among recorder teachers. Some teach their students to ‘pinch’, inserting the thumbnail into the hole to open it cleanly. Others prefer ‘rolling’, where you use the flesh of the thumb and a smaller movement. I won’t go into this in detail here (there’s plenty of material there for a blog post of its own), but if the technique you use works well then why change it?
The critical element to consider for high notes is how much you open the thumbhole. You’re searching for the Goldilocks zone - not too open, not too closed but just right! Look at most recorder fingering charts and you’ll see a half-filled circle to depict an upper register note. This may work for the first few notes, but once you reach two fingers with a pinched thumb you’re destined for failure with a half open thumbhole. Instead, open the hole just a fraction and your chances of success are much greater. Some recorders are more sensitive than others, so it’s often a case of getting to know your instrument(s) well and learning their foibles.
Of course, it’s all very well knowing your thumb isn’t in the right position but how do you know whether the hole is too open or too closed? Fortunately there’s an easy way to find out! It’s tricky to explain in text, so take a look at this short video clip where I explain the technique, complete with sound effects…
Don’t forget the breath and tongue
For many people getting the right thumb position while pinching can solve their problems, but it’s worth considering the other ingredients too.
In contrast with the lowest notes, high ones need fast, cool air to make them play. I find it’s best to consider the speed of your breath, rather than simply thinking, “I must blow hard!” Try to avoid bracing yourself for high notes. So often I hear players take a deep breath immediately before the high note which concerns them, before launching themselves at it with all their might. If the note comes out at all it’s likely to be overblown and tense.
Instead, your strategy is best compared to riding a bicycle up a steep hill. If you stop halfway up (the musical equivalent of breathing and bracing before a high note) it’s hard to get your momentum going again and the hill feels even steeper. You’re better off pedalling like fury at the bottom and the momentum you build up carries you up and over the summit. The musical equivalent is to breathe earlier and use your stomach muscles and diaphragm to get the air flowing swiftly before you really need it. This flow of breath carries you through and beyond the high note (providing you get your thumb position right) which will sing much more easily.
As for articulation, don’t tongue explosively. Use a moderate ‘doo’ articulation and trust that the breath and correct thumb position will do most of the heavy lifting. Providing your air stream is quick enough even the highest notes don’t require strong tonguing.
The elusive fourth ingredient…
Assuming you’ve found the right combination of thumb position, breath and tonguing to play your high notes there’s one more ingredient which will help you – a combination of confidence and self belief! If you approach high notes with a glass half empty attitude, assuming it’ll all go horribly wrong, there’s a good chance it’ll become a self-fulfilling prophecy. Playing tentatively often results in underpowered, broken top notes.
Instead, go into those higher registers with a positive attitude and total conviction - you’re much more likely to find the right speed of breath and articulation. Your tone will be fuller, the high notes have a greater chance of sounding well and you’ll gain confidence from your success. If it does go wrong, at least you’ll have given it your best shot and, as I often tell my students, if you’re going to make a mistake, do it with style and panache!
If a high note does fail, try to analyse what you did wrong – was your thumb position wrong, or perhaps you didn’t use fast enough breath? Use this as a learning experience and don’t be afraid to make mistakes. You are human (a species not known for its perfection) and no one will ever come to physical harm from a split note!
Be persistent
My final piece of advice is to be persistent. Don’t get into a negative frame of mind and give up - that way you’ll never conquer your fears. Keep practising and those elusive notes at the extremes of our instruments will come to you. Here are a few quick tips which I offer to all my students, which are equally applicable whether you’re soaring through the upper register or plumbing the depths…
Relax! Tension is the enemy of all recorder players. Wiggle your shoulders to loosen the knots, take a deep breath and exhale with a big, soulful sigh. Allow your cheek and throat muscles to go soft and flabby so your breath can reach your recorder unimpeded. The only tension you need is in your diaphragm and stomach muscles!
Slow down and don’t try so hard. Human nature dictates that when we fail we tend to try harder and faster. This is almost always counterproductive, so instead stop, take a deep (relaxed) breath and begin again slowly.
Keep a recorder handy at all times. The best way to improve a skill is to practise it little and often. If that top F eludes you on the treble recorder, keep an instrument out at all times (a plastic one can be handy for this), preferably left in a room you use a lot. Every time you walk by, pick the recorder and play the note(s) which need practice for twenty or thirty seconds. Hopefully you’ll end up doing this multiple times every day and the frequent repetition will be so helpful. Sitting down for a long practice session can seem daunting, but these frequent small bursts are easy to fit in on your way to the kitchen or before you walk the dog. Trust me - little and often really does help!
These tips should give you the tools you need to improve your extreme notes on the recorder. Aside from the technical details, the most important things are confidence, a positive attitude and regular practice. Spend a few minutes every day making friends with your least favourite notes and they’ll become a strength rather than a weakness. Why not make a resolution to practise them for a few minutes every single day for a month and leave a comment below to share your progress? I’d love to hear how you’re getting on!
