This material was presented at our February meeting. For a shorter synopsis, please see our post under "Chapter Meetings".
Introduction...
All woodwinds are essentially tubes of a specific length. The length of the tube determines the instrument’s fundamental pitch, (i.e. the note that is produced when all the holes/keys are covered). The orientations of subsequent pitches are determined by the base pitch of the tube. Since most woodwinds have been produced in different sizes for the past several hundred years, that means that each member of a woodwind family will have a different base pitch and a different orientation of subsequent pitches in relation to the base pitch, and technically, different fingering associations. So, what is a woodwind player to do?
1. Transposing what you READ using printed pitches and key signatures in order to keep the same fingering associations.
The recorder is technically a transposing instrument. We have recorders with base pitches of C, F, G, D, and Bb. Our most commonly played instruments today are pitched in C and F. Today there are many modern woodwinds who have transposing members of their families. The oboe is pitched in C and the English Horn is pitched in F. The saxophone family has members pitches in C, Bb, Eb. The clarinet family has members pitched in Bb, A, and Eb. In modern times, in order for a player to switch instruments quickly without getting confused, each instrument uses the same finger pattern for subsequent pitches and the player retains the same pitch associations for each fingering. (ex. All fingers down is read as a C). However, because the length of the tubes are different, the pitch coming from the instrument will be different. Therefore, in order for the correct pitch to sound AND for the player to retain their pitch/finger associations, the music must be altered so that the player reads the notes associated with the correct sounds.
Example 1, a melody for B-flat clarinet.
A clarinetist wishing to use the same fingerings and fingering associations in order to play this melody, must be willing to READ different pitches and key signatures so that the correct pitches will sound.
Example 2, the same melody for A clarinet.
A recorder player who plays C recorder COULD have someone transpose all of his/her F recorder music in order to avoid changing fingering associations. However, this would be expensive and impractical and this is NOT how it was done in the Renaissance or Baroque eras. Modern woodwind players are spoiled rotten!
2. Transposing what you READ via clefs and key signatures in order to keep the same fingering associations.
There is no easy way to transpose clefs between a C and F recorder. However, if you find your self playing one of the other pitched recorders, you could use a clef transposition in order to use your favorite fingering associations.
Example 3, a melody for D voice flute.
This excerpt is for the D voice flute (recorder). When all the holes are covered the lowest note the tube produces is a D. Many recorder players don’t play D voice flute all that often so some players might not want to learn the new fingering associations for D voice flute. In that case, a player could do the following:
Example 4, the same melody in Tenor clef. The pitches are on the same place on the staff but the clef and key have changed.
While playing the D voice flute, a player could READ tenor clef and add 2 flats to the key signature. (Canceling a sharp is the same as adding a flat.) Then the player could proceed to use C recorder fingerings. OR
Example 5, the same melody in bass clef. Notice that the pitches are on the same lines and spaces on the staff. Again the key and clef have changed.
A player, while playing the D voice flute, could READ the printed notes as if they were in bass clef and add 3 flats to the key signature. (Remember canceling a sharp is the same as adding a flat.) Then the player could use F recorder fingerings.
This method of transposition might have been used in the Renaissance and Baroque. My recorder professor was taught this method by her Dutch recorder teachers, so it might be knowledge that has been passed down, however, I have not direct evidence of this from the treatises.
3. The most common form of transposition (especially between C and F recorders) was for the music to stay in C as printed and for the player to change his/her fingering associations for the base pitch and subsequent pitches of the instrument.
Leaving the music alone and changing your brain/fingerings is a very daunting task to many recorder players, but this method of transposition is the oldest that wind players have and it can be fun.
First, activate your kinesthetic learning by moving the fingers in the basic fingering pattern of the instrument.
When looking back and forth between music and a fingering chart we often don’t realize that the recorder uses the exact fingering patterns regardless of pitch. So, without worrying about which pitch you are playing just move your fingers in the basic scale pattern for the first octave, (or whatever group of notes you are working on.) Do this for a few minutes.
Second, activate your vestibular system. The vestibular system is a series fluid filled canals located in your skull near your ears. The vestibular system is necessary for balance, additionally research is showing that a well functioning vestibular system is also linked to cognition. If you want to learn quickly, get up and move! For example, you could stand up while fingering the basic pattern. You could walk around while fingering the basic pattern. You could stand on one foot (then the other) WHILE fingering the basic pattern. Caution, however, don't do any movement that you are uncomfortable doing.
Third, activate your aural learning. We are musicians and quite often musician have more developed aural learning abilities than the average population. Try “SAYING” the names of the pitches that you wish to associated with the fingering patter you are working on. Say the names out loud. (Do not play yet, blowing and tonguing are added movements that keep the brain from focusing on the new fingering associations.) Say the names of the notes WHILE fingering and WHILE doing a kinesthetic activity.
Fourth, activate visual learning. Look at a piece of music or scale with the pitches you are working on and SAY the names of the notes WHILE fingering. You can continue to add a kinesthetic exercise. However, I still advice NOT playing yet. Again, the breathing, blowing and tonguing are extra movements that can distract the brain from the fingers. SEE, SPEAK, and MOVE the fingers and body a couple of times.
Finally, we play. When working on new fingerings/finger associations, I recommend keeping the music confined to a narrow set of pitches, (preferably the pitches you have been working on), at first. (A list of the music the GFC of the ARS used in their meeting can be found in the post under Chapter Meeting.) I recommend keeping rhythms simple and keeping leaps minimal. If you forget a pitch, go back and finger the basic pattern while saying the names of the notes again. Reinforce those pitch associations.
Final thoughts.
How long will it take to gain fluency on the new pitches? Depending on how many fingerings/pitches you are working on, it could take 21 to 30 days to start becoming fluent. If 21 to 30 days sounds daunting, just think about how many YEARS of enjoyment you could receive from playing your new instrument and its’ repertoire. Fortunately, if you activate all “forms” of learning, (i.e. get off your butt), you only need a few minutes a day to reinforce the new fingerings.
