Microtonal recorder

As you might have seen in a previous message of mine, I'm playing
Turkish music on recorder. Naturally, I'm on search for resources on
microtonal (or alternately tuned) usage of the instrument.

The Huygens-Fokker foundation links to
<http://ourworld.compuserve.com/homepages/DONALDBOUSTED
> but it returns a 404.

If you know of any online/offline resources or are interested in the
instrument please follow up.

Best,
Ertugrul

I posted a message with this subject line earlier this (last) evening
(GMT) but it hasn't shown up after 8 hours by now.

I'm playing Turkish music on recorer to some extent. I'm in search of
resources about the non-12et usage of that instrument, online or
offline.

If you are interested, please follow up. I'd like to share ideas and
know more about the topic.

Cheers & best,
Ertugrul
<ertugrulinanc-at-ixir-com>

--- In tuning@y..., "ertugrulInanc" <ertugrulinanc@y...> wrote:
> I posted a message with this subject line earlier this (last)
evening
> (GMT) but it hasn't shown up after 8 hours by now.
>
> I'm playing Turkish music on recorer to some extent. I'm in search
of
> resources about the non-12et usage of that instrument, online or
> offline.
>
> If you are interested, please follow up. I'd like to share ideas
and
> know more about the topic.
>
> Cheers & best,
> Ertugrul
> <ertugrulinanc-at-ixir-com>

you may want to talk to johnny reinhard here on this list (or on the
columbia version of this list), he has extensive experience modifying
the recorder with scotch tape to play all kinds of tuning systems
(and he's no stranger to alternate fingerings either).

Dear Ertugrul
,

I also play microtonal recorder. I use scotch tape to change the shape of
the tone holes to different temperaments and also use different fingerings
for other tunings (like quartertones). In 2 weeks I am playing Bach's #4th
Brandenburg Concert in the historic tuning of Werckmeister III or chromatic.
Every hole has some tape except the thumb hole and the hole of the first
finger of the right hand which allows for tuning "C" with the other
instruments, and which is not taped.

Best, Johnny Reinhard

--- In tuning@y..., "emotionaljourney22" <paul@s...> wrote:
> you may want to talk to johnny reinhard here on this list (or on
the
> columbia version of this list), he has extensive experience
modifying
> the recorder with scotch tape to play all kinds of tuning systems
> (and he's no stranger to alternate fingerings either).

I hope Johnny will follow up. Until that, let me gaggle a bit.

I discovered most of the fingering myself (on a standard descant
recorder) and managed to sound all necessary intervals in Turkish
music. Just one position was really hard to find and my friend,
British recorderist Geoff Walker helped at that point: he mailed me a
scanned page from "The Recorder Today" by Eve O'Kelly, indicating
microtonal fingerings. The one I needed was there and the rest was
compatible with what I had 'discovered'.

AFAIK, I'm the only musician who plays Turkish music on recorder. By
now, I'm able to play two Ney tunings (Bolâhenk, the standard tuning
for TM and Sipürde, a tone lower than that) and "Mansur" (equivalent
to Western pitch) as far as the instruments range allows. The rest of
it is to be discovered now.

Cheers & best,
Ertugrul

Dear Ertugrul,

Indeed the recorder can play any tuning, like any instrument can. Keys were
added to play in newer tunings, culminating in conventional 12-tET. But all
flutes can play all tunings. Nay players often have a number of different
instruments to use based on factors of pitch and scale. By keeping your
fingers connected to the air stream that exits the tone holes, one can even
utilize zourna technique. For zourna uses the second joint of the fingers
rather than the fingertips.

But the quantum leap in controlling pitch on recorder was in figuring out how
tape could make minute adjustments in pitch that freed up the fingers from
the challenging new fingerings, or "grippings" as they can be imagined. The
tape frees the mind from the technique so that it can be entertained
elsewhere.

Best, Johnny Reinhard

--- In tuning@y..., Afmmjr@a... wrote:

> But the quantum leap in controlling pitch on recorder was in
figuring out how
> tape could make minute adjustments in pitch that freed up the
fingers from
> the challenging new fingerings, or "grippings" as they can be
imagined. The
> tape frees the mind from the technique so that it can be
entertained
> elsewhere.
>
> Best, Johnny Reinhard

given that you present this very reasonable argument above, i wonder
why you've expressed so much negativity toward patrick ozzard-low's
and george secor's ideas of wind instruments designed to play in
alternate tunings. it would seem the very same argument you give
above could be applied in support of such developments.

your response?

--- In tuning@y..., Afmmjr@a... wrote:
> Dear Ertugrul,
>
> Indeed the recorder can play any tuning, like any instrument can.
Keys were
> added to play in newer tunings, culminating in conventional 12-
tET. But all
> flutes can play all tunings. Nay players often have a number of
different
> instruments to use based on factors of pitch and scale. By keeping
your
> fingers connected to the air stream that exits the tone holes, one
can even
> utilize zourna technique. For zourna uses the second joint of the
fingers
> rather than the fingertips.

Thanks for replying, Johnny.

Being also a ney/nay player (nb! Persian Nay differs in timbre and
hardware from the Turkish/Arabic one and resembles
Anatolian "kaval"), I confirm. By that (ney) influence, I tend to use
fingerjoints rather than tips for better effect on the pitch. I don't
abandon using the fingertips, though.

Using fingerjoints helps with legato and glissandi wherever possible.

Best,
Ertugrul