May 2023

Expand Your Skills With Extended Techniques

by Jody Miller

The recorder, like most musical instruments, is capable of producing special effects through non-standard means called “extended techniques.”  After the middle of the 20th century, composers and performers pushed the limits of all types of instruments.  Keyboard instruments sometimes had foreign objects attached to the strings; woodwind and brass instruments were asked to play intervals smaller than a standard semitone; and stringed instruments were struck in a way to create more percussive sounds.  With its sensitivity to breath pressure and absence of keywork, the recorder is well-suited for all sorts of extended techniques.

Grace notes watch video

Grace notes, commonly referred to as appoggiaturas, are found in both contemporary music and historical music. Performance practice of the Baroque period dictated that an appoggiatura before a note be performed on the beat, deducting that amount of time from the note to which it was attached.

Beginning in the Classical period (roughly from 1750–1810), these ornaments were almost exclusively written into the music rather than added at the performer’s discretion. These grace notes occur just before the beat, which has been the standard practice for music composition ever since. The speed of the grace note, while ultimately left to the performer, is generally performed quickly. Non-standard (i.e. “alternate”) fingerings are apropos for contemporary music.

“Owls in the Cemetery” includes a number of grace notes.  Since the tempo of the work is largo (very slow), the grace notes should match the mood of the music.   Example 1 shows Allen’s use of a grace note in combination with another technique, pitch bending (measure 6).

Another consideration of grace notes is maintaining rhythmic accuracy as well as a steady tempo.  In measure 55, the bass recorder player has a syncopated rhythm that incorporates two grace notes (see Example 2).  The performer will need to be secure with the rhythm before adding the ornaments, once again remembering that the graces will occur just before the beat.  In the performance, the primary (big) note should be rhythmically exact.

Pitch bending watch video

Pitch bending involves making a pitch sharper or flatter than standard, and can be produced in multiple ways. To flatten the pitch, either lower breath pressure or shade the finger holes just below any covered holes. If the composer gives no indication of technique, the performer can experiment with these two techniques to ascertain the best method. Allen indicates that breath pressure is the desired technique. In measure 6 (Example 1), an inverted “V” shape represents over-blowing then subsequent under-blowing. Later in the piece, a curved line attached to the end of a note designates tapering off, which is only the flattening of the note by reducing the speed and amount of air used (measure 24, Example 3). 

Glissando watch video

A famous glissando can be heard in the opening clarinet solo of George Gershwin’s “Rhapsody in Blue.” Stringed instruments and trombones perform this technique quite easily, but it requires more work on other instruments. While a glissando can be performed over a larger interval, Allen mostly uses the effect for half-steps and whole-steps. Most glissandi are performed by gradually sliding one or more fingers off their tone holes to move from one pitch to another. Example 4 is from measure 32 of “Owls in the Cemetery.” The tenor recorder player simply slides or rolls their thumb off the thumb hole rather slowly.  

Ideally, the glissando should last the length of the first note; arrival at the second note should happen on the beat. In this particular case, I would recommend that the glissando starts immediately, as the performer only has one count to get the point across to the listener. A glissando over a wider interval occurs in the bass part in measure 21 (Example 5). 

The composer specifies the non-standard fingering “0” (thumb only) for the G-flat; consequently, the performer should slide or roll one finger at a time off their respective tone holes, starting with the hole the furthest down the recorder. With practice, this can be done with all fingers simultaneously. This technique, while more difficult to master, is likely to produce a smoother glissando.

Non-standard fingerings

As mentioned in the section for the glissando, non-standard fingerings are used in Allen’s music. In measure 14, the alternate F in the alto part facilitates a smooth slur from the preceding E-flat. Referring back to Example 5, this fingering of “0” in the bass allows for a more effective glissando.

Flutter tongue

Flutter tonguing is produced by fluttering the tongue in the mouth while blowing fast air past. This is hardly a new technique, but some recorder players may find it difficult. Lift the tip of the tongue up to the alveolar ridge, then blow fast air across the slightly relaxed tongue. This is not physically possible for everyone. In that instance, the effect could potentially be created by making a gargling sound in the throat (called a guttural flutter). Players who have difficulty producing a flutter tongue effect are advised to consult Walter van Hauwe’s The Modern Recorder Player, volume 3, in which he offers a thorough explanation of the technique.

The notes that use flutter tonguing are indicated with three thick, short lines through the stem of the note. This effect has become so standard that Allen doesn’t explain the symbol in the score. In other music, one might see “flz” (German flatterzunge) to indicate the technique. Allen uses the flutter tongue effect independently most of the time, but he sometimes combines it with a glissando (see, again, measure 32 in Example 4, in which all three parts are flutter tonguing, though the tenor player must combine this with a glissando).

Finger tremolo

A tremolo is a rapid alternation of two notes.  Sometimes these are standard notes, but Allen uses a tremolo effect to produce variations of intonation on one pitch.  In measure 35 (Example 6), Allen gives the standard fingering for the alto recorder B, which is to be rapidly alternated with the non-standard fingering 01234, significantly flatter in pitch.  A similar tremolo occurs in the tenor line later in the movement.

Labium glissando and vibrato watch video

By wrapping the index finger and thumb around the headjoint above the labium/window area, the remaining fingers can be used to lower the pitch or produce a unique vibrato. Near the end of “Owls in the Cemetery,” Allen uses this technique to produce a glissando effect and a wide vibrato. The note C-sharp is indicated in measure 58 (Example 7), but Allen uses the fingering for D. Wrap the fingers of the right hand around the headjoint, covering enough that the fingering actually produces a C-sharp. Gradually open the fingers until a D is sounding, then reverse the process to return to the C-sharp. The wavy line in measure 60 represents a wide vibrato produced using the same right-hand technique.

Bell covered notes watch video

By playing the lowest note of the recorder and partially covering the bell opening against the leg, the pitch of the note can be brought down a half step. “Owls” uses this haunting effect near the beginning and end of the movement, each time as the end of a glissando from the low F in the alto part (Example 1). Start with the edge of the recorder bell resting on the leg. Gradually change the angle of the recorder until the bottom opening of the recorder is obscured enough to flatten to an E. The result will be a weak note, thereby necessitating a good control of air speed (slow, warm air). The best results will be obtained from wearing pants or a skirt that can be pulled tight against the leg (or by using the bare skin of the thigh). Thick or porous clothing, such as sweats or knit material, can hinder one’s efforts. Depending upon one’s height or torso length, the player may find that crossing the right leg over the left and using the right thigh or calf may be the easiest way to produce the lower note.

Putting Techniques Into Practice

While the thought of extended techniques may initially seem daunting, the musical rewards can stretch beyond the piece of music. Pitch bending, glissandi, and vibrato all require that you listen carefully, a practice that can benefit your pitch sensitivity when tuning. The finger techniques can help improve fine motor control, as well as making you more aware of overall hand position and finger technique. One of the greatest benefits, though, is learning more about the capabilities of the recorder as you explore a wider range of repertoire.

The American Recorder Society would love to receive video recordings of your trio performing Jamie Allen’s “Owls in the Cemetery.” Send your video or a link to your video to jodymillerars@gmail.com. The ARS may post your video on our YouTube channel, or we may spotlight your performance on our Facebook page. Others would love to hear the results of your hard work on Jamie’s piece.