I have no doubt that every user will form their own opinion on how the accompaniments from the For Teachers section sound to them. And I believe that everyone will find their own way of how to work with them. Nevertheless, I will mention below some of the problems we can face while working with them.
When I started creating the accompaniments for pupils, I realized the trickiness of this technique and questioned whether I had the right and to what extent I could influence the natural musicality and feeling of pupils, as well as shaping their taste with electronic accompaniments. So, I tried to make the accompaniments as "sterile" as possible, so that it was really just a better metronome. Over time, however, I began to search for a compromise. I reworked a number of recordings several times in such a way as to preserve the character of the "metronome" with a minimum of agogics, but I tried to evoke the feeling of naturalness of the accompaniments. However, especially with the harpsichord, which is extremely sensitive to articulation, I was unable to make the accompaniment sound natural: in early music we work with time, and the accompaniments therefore appear mechanical despite all efforts. Further compromises had to be made in matters of interpretation. I asked myself again whether I have the right to distort the taste of the pupils in this way with my limited insight, whether the phrasing I chose is acceptable, whether agogics is not used too much or not enough, whether it is really possible to emphasize the ambiguous hemiola in the minuet at this point, etc. In some cases, I encountered problems connected to transcriptions into modern editions: for example, the first movement of Corelli's Sonata op. 5 No. 10 in F major transposed to G major by Schott uses phrasing that contradicts the original violin version. In such and similar cases, I have stuck to the template, because I assume that the user will either choose the listed sheet musicor use their own interpretation of the situation and explain the differences to the pupil, which they can then bring into line with their point of view in lessons with the accompanist.
The result of my efforts is nothing but a special metronome - an audio-metronome. Different layers of processing are reflected in its sound, and sometimes it sounds better, sometimes it's duller. However, I think that despite all the shortcomings, it is more attractive for pupils than the tapping of an ordinary metronome. After all, even ordinary metronomes have different sounds: some are closer to us and some we can't stand.
What can appear debatable, is the interpretation of the articulation in the recorder part, which can be listened to in each composition in the section For Teachers. I consider articulation to be a distinctive characteristic of everypupil, as I have already stated in chapter 7. Moreover, I think it is important that articulation is not rigid, and I try to explain to my pupils, that they can vary and adapt articulation as they wish according to the piece and feeling they want to put into it. However, on the recordings, I always use only one specific way that is repeated (for example, in all verses of a folk song, the articulation is the same, even though the words are different). Likewise, in early and modern music, in the case of repetitions, there is only one kind of articulation, although the situation usually calls for a change. Another thing is how to work with the length of the articulated note and the accent. The accent is, in my opinion, the most personal of all characteristics of a musician's expression, it is inextricably linked to breath and articulation, and that is why I did not use it in the melodic line of the recorder, so it sounds completely sterile. Articulation is therefore applied here only in terms of tone length. As for the length of the tone, I chose different solutions for different situations. Articulation in some of the folk compositions can appear strange, because there the length of the note is often adapted to the syllables/words found in the text of the first verse, despite the position of the note in the beat or logic that would correspond to the aesthetics of early music. However, just like all other cases, articulation used here is just a suggestion, an inspiration, or an incentive to find your own solution.
The recorder part also doesn’t contain melodic embellishments. For the first recordings, in some cases, I included trills so that pupils could listen to them and learn (or get inspired) how to play them. Gradually, however, I gave up this practice and removed ornaments from the recordings, because the individuality in the performance of the ornament and working with this individuality is more valuable to me than absolute accuracy. (In this regard, the accompaniment is equally poor: there are usually no trills and ornaments waiting to be implemented by the accompanist in the lessons.)
When it comes to early music (but of course also modern), it is often important for me that a pupil, who is learning to master a composition, has the opportunity to look into the score and realize the tones and rhythms that appear in the accompaniment. For that reason, the recordings in the section For Teachers are prepared according to the specific editions listed, where the basso continuo is worked out by the editor into one form. At first, I left the elaboration untouched, and the accompaniments thus seem somewhat empty compared to if they were realized by an experienced basso continuo player. Aesthetically, they do not look particularly acceptable, but they have the advantage of being easy for pupils to read. Later, I started working with the recording of the continuo. And especially the slow movements of baroque sonatas are recorded (in many cases) in such a way that they both follow the edition used, but also use the right hand of the harpsichord to rhythmize the used chords and their realization into arpeggios that go outside the main rhythm of the bass and "colour" the rhythmic stereotype of the printed edition. Pupils are thus forced to listen to the accompaniment more carefully and to realize the leading role of the bass, as well as the auxiliary function of arpeggios in passages where they start after a slowing down or a pause. In such places, the arpeggio is often used so that one of its notes (usually the last one) is heard (or is muted by the harpsichord mechanics) at the moment when the recorder is about to play. This procedure is richer and has a more musical effect, although it is necessary to explain to the pupils that what they hear is a variation of what is written down. It is thus an intermediate step to the recordings from the For Early Music Fans section, where the melodic line of the recorder is missing, but at the same time the continuo is realized in a stylistically appropriate way in its richness and invulnerability to print.
The dynamics of the recordings (in terms of volume level) are recorded in their final form in such a way that all kinds of accompanying instruments are set to the same level, so that by their nature some sound stronger (harpsichord, piano) and others are more subtle (lute, guitar). The distance of the recorder sound is smaller in the compositions of the first and second chapter, in the later chapters and in the chapters for the alto recorder, the distance is greater, so that pupils can better perceive the entire melodic line even in the deepest register of the recorder.
The audio-metronome accompaniments are recorded at an equal tuning of 440 Hz. The files rarely exceed 5MB in size (the exceptions are a long pieces, often at a slow tempo) and in the interim experience with my pupils, there have been no major problems with playing it online, although of course it depends on the quality of the Wi-Fi connection. The longest compositions and at the same time the most extensive files are both one-movement sonatas and canzones of the early baroque, and complete sonatas and suites with several movements arranged in one file so that pupils or fans can try to play them as a whole. For these files, it was necessary to reach for a lower sound quality, even though the size is usually between 10-15 MB.
In order to achieve the highest possible sound quality, I also did not reach for the so-called tempo-changer, i.e. an application in which the tempo of the played songs could be changed arbitrarily, because the tempo-changer reduces the sound quality of the file during playback. Another consideration for not using a tempo-changer was the effort to maintain maximum ease of playback: to click and play. The tempos used are therefore given, and their range and stepping are derived from the metronome Korg TM 50/60, which we use in the lessons. If the children are practicing a piece and have a passage in it that they need to practice on their own without playing the accompaniment from the beginning, they can set the tempo of the accompaniment on the metronome and practice the difficult part as needed and then incorporate it into the piece at the desired pace.
In the graphic editing of the offered musical material, or compositions from the collection Náš poklad by F. Sládek, I tried to stick to the original templates as much as possible and at the same time I tried to process the sheet music in such a way that it is easy to use for both pupils and accompanists. I ignored the usual practice where the introduction of the solo part is done in a smaller scale, thereby aiming for a better legibility of the recorder part when working with the score. In some of the pieces in the said collection, I adjusted the dynamics somewhat to better suit the subtle dynamics of the recorder.
The system of classifying pieces according to the used tonal range and gradually adding technical elements in managing intervals is also a compromise. It is not possible to leave the amount of musical material unsorted (or only alphabetically), because the user's comfort in handling it would be really limited. Personally, in textbooks of various types and origins, it always bothered me when an element that is explained in a certain part and introduced into the lesson does not appear in the next text for a long time, so pupils usually tend to forget its implementation. I tried to avoid this in the classification of the pieces, although it was not always completely successful. However, users have the possibility to choose from the number of compositions that discuss one phenomenon, those that contain an element (e.g. rhythmic) that they are currently looking for with their pupil.
Another issue of compromise is the use of rhythms. From the first chapter I included rhythms that usually appear later in textbooks but are common in many anthologies at the elementary level. It involves the use of quaver and sixteenth notes, dotted rhythms, syncopation, and ligatures. I believe that if the pupil has the opportunity to listen to the composition in the correct rhythmic proportions, there is no need to worry about these phenomena even with the youngest ones. Personally, I prefer a combined approach: in the first year, for example, the pupil plays some initial compositions from the second chapter, where new fingerings are learned with the right hand (d´, e´, f♯´) and at the same time plays compositions from the first chapter with quaver notes and dotted rhythm in the g'-d'' range, which do not require any new finger techniques, but teach pupils perceive new rhythms and articulate smaller values.
The pieces in chapters 9-14 for alto recorder are chosen to allow those interested to start from the very beginning, with no previous soprano recorder experience (or poor experience), as from time to time such a pupil appears in my class. In these chapters, many compositions from chapters 1–8 for the soprano recorder are repeated, just as in the chapters where the pupil reaches the very limit of the standard range of the alto recorder, compositions from the songbook Náš poklad by F. Sládek are repeated, with the difference that the melody line sounds an octave higher. The reason is that for tones such as g´´´ and above all f♯´´´, for which the eighth hole on the foot joint must be covered with the knee/thigh, there are not too many easy pieces that pupils of the basic music school would be able to play and which they were used for a comfortable introduction to these tones. The use of compositions for soprano recorder in the chapters for alto instrument has one more reason, namely the repertoire reason: If the users do not receive sheet music that they could use for alto recorder, they can reach into the archive and use the soprano repertoire, if of course it suits the range and if the piece can handle it sonically. Likewise, the repertoire for soprano recorder can be enriched with pieces for the alto. In terms of range, it is obvious how the compositions from the chapters for alto can also be used for soprano. Pieces from sections for soprano (ch. 1 - 8) that can be used for alto are marked (+A).
The classification of compositions follows one fundamental goal: a new tone/fingering appears first in the simplest combinations, namely in such a way that the movement towards this fingering is prioritized (it is not always an ascending interval), e.g. when introducing the fingering for the note f'', the compositions are ordered in such a way that the interval e'' - f'' is preferred, first in larger values (quarter notes and longer). The classification of compositions therefore does not respect the fingering combination from the new fingering towards the following (f´´ - e´´), because the pupil already knows the fingering for the second tone and therefore reaches it easier than the new one. It is actually the principle of half finger-practise, as it is known from Flautoškola.
The pieces are ordered in such a way that, from a technical point of view, in the sense of a combination of fingerings, the composition contains (mostly) only one new element. At the same time, the pieces follow each other, and I tried to arrange them in such a way that the difficulty of the finger combinations increases gradually. I didn't always manage to find a song with the required interval, so sometimes some combinations are missing.
It is of course possible to ignore this approach, practice several combinations with the pupils at the same time, and then incorporate them into the melodies. Considering that I have only been applying this method for the fourth year, it is difficult to draw conclusions about what is better for learners. Temporary experience tells me that less is more and that it is better to choose a slower progression and not overwhelm pupils with new technical elements, because this allows them to develop to a greater extent in other areas of playing: rhythm, articulation, intonation, work with sound, etc. However, we will see what the future brings.
If the accompaniment does not include the prelude of the accompanying instrument, then the composition begins with the sound of the wooden blocks, which guides the pupils to the tempo. The blocks beat either in half, quarter, or quaver notes, the first beat in a bar (or group of quaver notes) is always the higher sound. Before the very beginning of the piece, there is a pause after the sound of the blocks, which serves to practice the rhythmically performed breath. I generally tried to have the wooden blocks follow the pulse from the time signature, but this is not the rule. In some cases, it was difficult for my pupils to estimate the pulse of the piece in alla breve when the blocks indicated half values and the pupil played at a very slow tempo. For that reason, I chose to break the beats into quarter values. When there are only the blocks played in half notes at the beginning of the accompaniment, then I lead the pupils to divide the half notes into quarter notes by moving their body to the beat and thus better feel the tempo and rhythm of the very beginning of the composition. The same situation prevails in the slow movements of baroque sonatas: sometimes the tempo is indicated by a pulse of quarter values, at other times there are eighth values. Eighth values are more practical and starting after them is more certain, while quarter values better lead the pupil to a calm atmosphere.
The recorder is inextricably linked to early music, i.e. music that covers historical periods from, let’s say, the 14th century to the second half of the 18thcentury: the Middle Ages, the Renaissance and the Baroque. Among the oldest musical relics that are played on recorders, are compositions from collections of keyboard literature, e.g. Robertsbridge Codex (1360), Codex Faenza (14th century), compositions by G. de Machaut, etc. The Renaissance was the period of flourishing of vocal polyphony and the recorder was the most widespread wind instrument. Then there was the Baroque, which brought the development of instrumental virtuosity and a number of solo pieces that form the core of the recorder repertoire. After a break of about 150 years, when the recorder almost disappeared from musical use due to the demands of new-type orchestras, it returned with the twentieth century, when it experienced a second renaissance and started to belong alongside other musical instruments as their full-fledged partner. (For more on the history of the instrument, see e.g. B. Spanhove's Finishing Touch of Ensemble Playing, Eve O´Kelly´s The Recorder Today, etc.)
The presented audio library serves as a guide not only to the technique of the instrument, but also to its history. My aim is therefore to provide pupils and their teachers with the widest possible range of repertoire, so that they can orientate themselves in the multitude of compositions and musical styles played on the recorder and develop in a versatile way. I would like the children to understand that not only folklore and baroque are played on the recorder, but practically all other musical styles and genres. And that within these styles it is necessary to change the approach to the instrument so that the music stands out in all its intended beauty. It would make me happy if non-specialist teachers did not reject the recorder, because with it they reject several centuries of musical development on which our current knowledge is based on. This attitude is a kind of barbarization not only of the instrument itself, but also of the approach to music in general: music really did not begin with the Well-tempered Piano, A Little Night Music, or any other iconic composition of musical classicism. (It is very interesting that this barbarizing attitude is not applied to, for example, the drum, although historically percussion instruments are at least as old, if not older, as pipes of all kinds. And certainly no one today would think of saying that the piano is a preparatory instrument for the organ...)
Many audio files are created from the compositions of the collection Náš poklad/ Our Treasure by F. Sládek. The entire collection is remarkable, and the elaboration of piano accompaniments is very inspiring for children with its sound. Selected compositions are used both in their original keys, where pupils can often practice more difficult fingerings, but also in a large number of transpositions so that even beginners can play compositions with their limited technical capabilities.
The number of transpositions not only for folk songs, but also for anthologies in the first chapters is given for two reasons: 1. there were no simple enough pieces for practicing elementary techniques in the repertoire that was available to me, 2. transpositions teach pupils that melodies can be played in different positions and keys. At the same time, it is often convenient that pupils learna new technique on a piece they already know, and they are thus well prepared to understand the new material.
The period from about the beginning of November until Christmas is a period of carolling in our culture. I think I can say that they are inescapable practically everywhere in public spaces. They basically have the function of an advertising slogan for Christmas and the associated consumerism. But pupils, especially the younger ones, like them, so I don't want to avoid them in class, plus, the fact is that there is a lot of beauty in them. Carols are therefore also the content of the first few chapters for soprano recorder, and their processing with guitar accompaniment is such that in most of them the carol is as long as the number of stanzas it contains. There are two reasons for this: 1. it is a good exercise for endurance, 2. multiple repetitions provide the opportunity in class (and at home) to play some verses, sing others, or to combine both approaches and improvise in performance.
Although audio-metronome accompaniments have their disadvantages as I described above, based on my own experience, I dare to say that the benefits of working with them are greater than most of the negatives. I am not only talking about musical aspects such as rhythm, intonation, orientation in musical notation, etc. Perhaps the greatest contribution lies in something else, namely the psychology of teaching the recorder.
First of all, there is the issue of motivation and "drawing" the pupil into the flow of music. Being able to play a piece at any time in full sound and with accompaniment is really motivating for my pupils, and as time goes on, I can't stop being surprised by how much good work they are able to do at home.
Another plus is enough space for inner growth without unnecessary stress and pressure on the tempo of the composition. We start mastering the composition gradually at slow tempos and if we don’t manage to reach the final tempo, we don't mind, because we can improve technically at the achieved level. Skills grow with each subsequent song.
Last but not least, there is the already mentioned psychological resistance of pupils at public performances: If I let the pupil perform a composition with an audio-metronome that "does not wait for them" at home (or in a familiar environment), then with a real musical partner they feel much more free at the next performance, because there is no need to "play immediately/in this moment", and the music thus receives its true suppleness, fluidity and space for communication. It is also not without significance that the pupils learn to expect the sound of the accompaniment - in other words, they know what they will hear in the accompaniment - and are thus more relaxed during the performance. Thanks to this, lessons with an accompanist change from playing a composition with uncertainty to creative moments that are enriching for everyone involved.
I have no doubt that the audio-metronome will have numerous disadvantages for many professionals. I would like to say that I myself ignored playing with "backgrounds" for a long time and did not like everything that comes from using them. What I often tell pupils when they try to outsmart an exercise: first do it and then you will understand it.
In conclusion, I would like to emphasize that the audio-metronome is not primarily intended for teachers, but for children. For the teacher it serves as an aid, for the pupilit is a sort of a fixed point at home, thanks to which they no longer have to fumble and be unsure whether they are playing this or that rhythm correctly, etc. In addition, with the help of the audio-metronome, the pupil learns to listen not only to the piano, but also to the harpsichord, they get to play with the guitar and lute – and all sounds enrich them in their musical expression (Hauwe 2, p. 60). However, in order to get an idea of the natural sound of the instruments used, it is necessary to listen to them in real life - preferably in rehearsal lessons, at concerts, or at least from quality recordings.
And the teacher, whose main focus is on the pupils and their development, can find many other ways to help them improve with the help of an audio-metronome, be it by working on intonation or articulation, dynamics or finger technique, ornamentation or improvisation.
I wish you all a lot of beautiful moments in the lessons together.
Karel Odehnal, February – August 2022
Literature:
HAUWE, Walter van: The Modern Recorder Player, Vol. 2, Schott 1987
