Subcategories

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  Tutor: RUTH WILKINSON

  Recueil de Pièces par M. Blavet

  Please study and be prepared to play both parts of the following:

  Suite page 6

  Entrée de chaße

  Air de Zaïde

  Gavotte de Corelli

  Theme page 14 and all variations 1-5

  Brunette O Dieux page 18

  Brunette Plaignez-vous page 20

  Menuet Page 27 and variations 1-3

  Menuet pages 26 and 27 plus variations 1 to 3.

  We will touch on other works in the volume as the week progresses.

  We will not necessarily play all the notes of all the set pieces. We will use parts of these works to identify and practice various techniques as required by the class. We do not expect you to have mastered all the notes by the course.

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  Tutors: ANNA STEGMANN
  

  Session 1: Technique class - We will not necessarily play all the notes of all the set pieces. We will use parts of these works to identify and practice various techniques as required by the class. We do not expect you to have mastered all the notes by the course.
  

  Set works instruction

  1)  Methodische Etüden für 1-2 Altblockflöten

  Code and publisher: Edition Floeno; Nr. 1490

  Instructions: 

  - Please prepare the pieces with modulations up until 4# and flats. If you go further: that’s a bonus! :)

  - you don’t need to practice no. 11 and 12 and the second voices. 

  - start practicing all studies very slowly and set a metronome speed at a tempo you feel you can manage without too much stopping. Pick one tonality at a time and start speeding it up with the metronome going in steps of five; e.g. start at 60/ crotchet and if you can manage it at that speed, advance to 65/ crotchet. Your final speed is not as important as the speed “journey” you undergo. 

  2)Telemann: 6 Canonic Sonata, op 5 TWV 40:118-123; prepare in F-major (no 3); N.B.! In the Schott edition, this is no. 2!!! But I really mean the one F-major in Amadeus. 

  Code and publisher: Amadeus, BP 0320

  Instructions: Enjoy playing! We will look in detail at sonata 3 in F-major.

  If you want to learn from the other edition please note: ED Schott version its no.2, in Amadeus its no. 3

• 

  Tutors: DANIEL MURPHY
  

  Session 1: Technique class - We will not necessarily play all the notes of all the set pieces. We will use parts of these works to identify and practise various techniques as required by the class. We do not expect you to have mastered all the notes by the course.

  In the Suzuki book please focus on:

  No. 4 What Shall We Do This Evening (van Eyck) 

  No. 1 Menuet II (Telemann) 

  No. 6 Suite No.3  - Movement 5 Menuet - Le Mignon (Hotteterre)

  Optional 

  No. 3 Giga (Corelli)

  Handful of Trios

  With Minuetto - if you do not play bass (or even have one) please have a look at the bass part - I will bring some spare bass'  for people to try to play bass if that is something you would like to do. No pressure if you don't want to.

  	Walking With Bertie	Mr Jinx	Minuetto	Riffle Birds
  LF	Descant	Descant	Treble	Descant 3
  GDon	Descant	Treble	Treble	Descant 3
  JM	Descant	Treble	Bass	Descant 2
  RM	Treble 1	Treble	Treble	Descant 3
  SD	Treble 1	Descant	Bass	Descant 2
  JE	Treble 1	Treble	Bass	Descant 2
  IF	Treble 1	Descant	Tenor	Descant 2
  BC	Treble 2	Descant	Treble	Descant 1
  AH	Treble 2	Treble	Tenor	Descant 1
  PT	Treble 2	Bass	Treble	Descant 3
  GDee	Treble 2	Bass	Treble	Descant 1
  CA	Treble 2	Descant	Treble	Descant 3

  Note - For Orpheus Music Publications (OMPs) you can either purchase the hardcopy (sent to you via the post) OR download the PDF version (with a discount but you print at home).
  

• 

  Tutors: JOANNE ARNOTT
  

  Technique: Hobart	Hans-Martin Linde	Modern Exercises for Treble Recorder	Schott ED4797	Please prepare Numbers 3, 6, 10, 15, 16 & 17.	n/a
  Technique: Hobart	Trevor Holton	Okavango	OMP147	Please learn 2 parts (allocated). (Those with sopranino parts – learn on treble)	JP: D & Sop JB: T & B LC: Tr & T IS: Sop & D LM: D & B YH: T & B CB: Tr & B KT: D & Tr BW: Sop & B JE: Sop & T MT: Tr & B

  Session 1: Technique class - We will not necessarily play all the notes of all the set pieces. We will use parts of these works to identify and practice various techniques as required by the class. We do not expect you to have mastered all the notes by the course.

  Note - For Orpheus Music Publications (OMPs) you can either purchase the hardcopy (sent to you via the post) OR download the PDF version (with a discount but you print at home).

• 

  Tutors: ROBYN MELLOR
  

  Music Instructions for Robyn’s Groups: 

  Greetings Group Canberra. I am looking forward to working with you all during the Technique Class. I hope you enjoy working on the music I have chosen.

  Geisbert: 15 Solos by Eighteenth-century Composers for treble recorder

  Please work on numbers 1, 2, 3, 9, 11, 15

  Instrumentation – all pieces are written for Alto recorder

  At first glance, these may seem very difficult, with lots of notes, semiquavers, high notes and “Allegro” markings. Do not panic! Do not try and spend the next three months trying to play each and every note! We will spend time in the class discussing methods of analysing the studies and developing playing techniques that will enable you to approach them without fear and play them with confidence.

  Please note: The Giesbert collection can also be found in this bind up collection: https://orpheusmusic.com.au/treble/1032-the-baroque-solo-book-9781789267600.html

  Ten little duets for recorders – Ross Edwards

  Please work on numbers 1, 4, 6, 8, 9

  We will experiment by playing these pieces on either 2 Sopranos, or 2 Tenors, so try them on both and see which you like best.

  Instrumentation:

  Initials	Ten little duets for recorder 1, 4, 6	Ten little duets for recorder 8, 9
  DC	S/T1	S/T2
  DH	S/T2	S/T1
  GN	S/T1	S/T2
  JH	S/T2	S/T1
  SH	S/T2	S/T1
  MW	S/T2	S/T1
  LG	S/T1	S/T2
  CA	S/T2	S/T1
  GD	S/T1	S/T2
  CS	S/T1	S/T2
  IS	S/T2	S/T1

  Instrument Music and Choruses from Dido and Aeneas – Henry Purcell

  Henry Purcell’s Dido and Aeneas tells tragic tale.

  In the course of his travels, Aeneas stops in Carthage, where he has a passionate love affair with the recently widowed Queen Dido. Once he learns that the gods have assigned him another, more glorious fate, however, Aeneas dutifully abandons Dido, whereupon she kills herself in rage and despair.

  Despite this sorrowful tale, the incidental music in the opera is charming and great fun to play.

  Please work on:

  • Overture to Act 1,

  • 11 Chorus: Fear no danger

  • 111 The Triumphing Dance

  • IV Chorus: In our deep vaulted cell

  Instrumentation:

  Initials	Dido and Aeneas 1 Overture to Act 1 S.A.T.B	Dido and Aeneas 11 Chorus: Fear no danger S.A.T.B	Dido and Aeneas 111 The Triumphing Dance S.A. A/T.B	Dido and Aeneas IV Chorus: In our deep vaulted cell S.A.A/T.B
  DC	S	A	S	A
  DH	A	A	A - play the Tenor line on Alto recorder	A - play the Tenor line on Alto recorder
  GN	S	A	A - play the Tenor line on Alto recorder	A
  JH	A	S	A - play the Tenor line on Alto recorder	A
  SH	A	S	A	A - play the Tenor line on Alto recorder
  MW	A	A	S	A - play the Tenor line on Alto recorder
  LG	S	T	A	A
  CA	T	T	S	S
  GD	T	T	A	S
  CS	T or B	T or B	T or B	T or B
  IS	A	S	A	S

  Focus of Technique Classes:
  

  Preparation:

  o Posture

  o Hand position

  o Breath

  • Attack – what are you saying

  o Articulation

  o Which articulation

  • Duration – how long is the note

  o Long and short notes

  • Connection – How are the notes connected

  o Related to duration – can have long notes that are note connected to the next note

  • Finish – how is the note finished

  o Do you end the note with your tongue or just let the note die away or finish it by starting the next note

  Session 1: Technique class - We will not necessarily play all the notes of all the set pieces. We will use parts of these works to identify and practice various techniques as required by the class. We do not expect you to have mastered all the notes by the course.

• 

  Tutors: KAMALA BAIN
  

  Session 1: Technique class - We will not necessarily play all the notes of all the set pieces. We will use parts of these works to identify and practice various techniques as required by the class. We do not expect you to have mastered all the notes by the course.

  Van Eyck – Der Fluyten Lust-hof
  The goal for the van Eyck is to have a sense of the original tune when playing the variations.
  To work on (numbers given are the numbers in the Dolce edition):
  2. Onder de Linde groene – modo 2, modo 3 (soprano or tenor)
  4. Puer nobis nascitur – theme, modo 2, modo 3, modo 4 (soprano or tenor)
  5. Engels Nachtegael I – theme, modo 2 (soprano)

  •  if you want extension, work on modo 3 of Nachtegael I or Nachtegael II (p. 8 – note that the second half

  has one extra bar).
  8. Amaralli mia bella – theme, modo 2 (soprano or tenor)
  11. Pavan Lachymae II – theme, modo 2 (soprano or tenor)

  • if you want extension, work on modo 2 of Pavan Lachymae I (p.14)

  12. Doen Daphne I – theme, modo 2, modo 3 (soprano or tenor)
  There are a lot of van Eyck recordings online. If you’re looking for inspiration, here is a place to start:
  A catalogue of interpretations of Jacob van Eyck’s Der Fluyten Lust-Hof
  presented by the Olive Consort
  https://derfluytenlusthof.org/
  This is a collection of van Eyck videos of recorder players from all over the world (you may even recognise
  one or two players). Some will be quite a lot faster than we’re likely to take them in technique class.

  
  Telemann – Concerto in F major
  1. Everyone learn recorder 1 part (we’re going to pay particular attention to high note playing and
  articulation)
  2. Choose one other part to learn. You’ll notice a lot of similar patterning from the recorder 1 part

  
  Jean Baptiste Loeillet – Sonata no 1
  Some additional material to work on from an original print. It has been emailed to you.
  Learn recorder 1 and recorder 2 (separate parts):

  • movement 1 Adagio

  • movement 4 Giga – Allegro

  Things to be mindful of:

  • Crotchet rests look like back-to-front quaver rests

  • Sometimes a bar is not a complete bar at the end of a line and runs into the next line

  Email me at kamala.bain@gmail.com if you have any questions.

• 

  Tutors: HANNAH COLEMAN
  

  Session 1: Technique class - We will not necessarily play all the notes of all the set pieces. We will use parts of these works to identify and practise various techniques as required by the class. We do not expect you to have mastered all the notes by the course.

  HANDEL

  Please learn the last sonata in this edition, Nr 3 in D minor. If you are able, please also learn the bass part - playing it on a treble is fine.  

  COGAN

  Please learn two parts of this piece (on two different recorders). Don't worry too much about the ornaments for now - please focus on learning the notes and maintaining a steady pulse while playing.

  Allocations for Reflections (please learn your allocated part plus one other)

  Des AM BK WJ

  Tr JD BO AM

  T DG YC JM

  B CS NH JC

  Note - For Orpheus Music Publications (OMPs) you can either purchase the hardcopy (sent to you via the post) OR download the PDF version (with a discount but you print at home).
   

• 

  Tutors: ALANA BLACKBURN
  

  Session 1: Technique class - We will not necessarily play all the notes of all the set pieces. We will use parts of these works to identify and practice various techniques as required by the class. We do not expect you to have mastered all the notes by the course.

  Dances and Divisions:
  

  Chestnut dance setting p.1 and divisions A minor p.2 The Hempdresser dance setting p. 17; divisions p. 20 Parson’s Farewell Dance setting p. 43 and divisions p. 44 We may look at others if we have time.

  Canzon:

  Learn both parts, if you play bass feel free to learn the basso continuo line as well.

  Partita:

  Prepare all 6 Arias. If possible, prepare on tenor, alto may be used leaving out notes below F, descant may be used.

• 

  Tutors: SARAH JEFFERY
  

  Session 1: Technique class - We will not necessarily play all the notes of all the set pieces. We will use parts of these works to identify and practise various techniques as required by the class. We do not expect you to have mastered all the notes by the course.

  Agnes Dorwarth Birdbook - please learn two of the movements. We will study all four over the course of the week, so some you will know better than others. This is fine! We'll take the time to go through the techniques together, and there will be opportunities to play for each other.

  Schickhardt concerto - D minor Concerto - please learn voice 1, and familiarise yourself with either voice 2, 3, or 4.
• 

  Tutors: BRENDAN O'DONNELL
  

  Session 1: Technique class -  We will not necessarily play all the notes of all the set pieces. We will use parts of these works to identify and practice various techniques as required by the class. We do not expect you to have mastered all the notes by the course.

  25 Capricen in 12 Keys from 18th Century

   Capricio 1 (p.2-3): Focus on slow and clean slurs with good breath support. Don’t worry about dynamics; we will discuss these together.

  Presto 19 (p.20-21): Work this up to the fastest tempo you feel comfortable with, single-tonguing – breathing where necessary! We will use this as a basis to work on double-tonguing

  From Etüden und Solostücke (Braun/Fischer)

  p. 48 Allegro moderato – Jacques Féréol Mazas

  Here we are trying to emphasise the two “voices” created by the triplet groups, in this case the lower, more melodic line contrasted with an ongoing upper line serving a pedal function. The challenge is to make the generally higher notes sound weaker by playing with short but gentle articulation, while the first note of each triplet is longer and stronger.

  p. 54 “One finger only” Übung – Winfried Michel

  We are not going to try to play this at speed! This study should only require you to move one finger for each change of note. While you are encouraged to try the whole thing, we will focus on the first five systems, and just look at a few moments in the rest of the piece to illustrate particular techniques and fingerings. Note the alternative fingerings listed on p. 56, and the use of “sputato” (literally “spat” notes - short, sharp, over-articulated staccato).

• 

  Tutors: ALICIA CROSSLEY
  

  Session 1: Technique class - We will not necessarily play all the notes of all the set pieces. We will use parts of these works to identify and practice various techniques as required by the class. We do not expect you to have mastered all the notes by the course.

• 

  Chamber Ensemble F / Large Ensemble F

  Tutor: CHRIS ORTON

  NOTE: Music will be provided on the day for Chamber Ensemble.