Virdung
The
fingerings that can be used on the recorder depend on the instrument's design, profile and
proportions, which have considerably evolved over the centuries. In the beginning of the
Renaissance, musicians used a range of less than 2 octaves.
This chart published in Basel by Sebastian Virdung in 1511 shows the holes to open and not those that must be closed for each note, from the bottom of the recorder upwards.
The three commonly used recorders are shown here together.
The figures on the right indicate the open holes, upwards from the bell (0) ,the lowest hole (1), to the thumb hole (8).
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Ganassi
Sylvestro Ganassi published his treatise , La Fontegara in 1535. This chart, like Virdung's, shows the normal range and fingerings for a recorder of the period. It is however easier to read because it shows the holes to close for playing each note, presented in a more conventional way.
Ganassi experimented with his own
instruments, and the following charts, also contained in his treatise, La Fontegara
show notes above the normal range for the time. These 3 charts apply to 3 recorders from
different makers (cf the maker's mark on the first of each series). There are
differences from one instrument to another. They are not the same as
modern fingerings. In each chart the first on the left is for F natural on a recorder in g (Bb on a recorder in c).
The third is for high G on recorder in g (high C on a recorder in c).
Click here for a more detailed analysis of Ganassi's high note charts and how they apply to recorders.
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Virgiliano
Here is another
later chart (Aurelio Virgiliano, ca 1600), which refers to a similar
type of instrument to Ganassi, with a range of less than 2 octaves.
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Jambe de Fer
From the middle
of the 16th century onwards, recorder design seems to have
evolved, giving a range of 2 octaves or more. This chart, contained
in Philibert Jambe de Fer's Epitome Musical of 1556, is the
first printed reference to fingerings similar to those of our modern
recorders.
Mersenne
We find similar
fingerings in Mersenne's Harmonie Universelle published in
1636. Apart from a few exceptions, they are fairly close to those of
our modern recorders.
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Blankenburgh (van Eyck)
In a text published with der Fluyten
Lust-Hof of 1646, Blankenburgh gives descriptions (but no chart) of fingerings for a recorder of van Eyck's time.
These are unusual, since half holes are often preferred to fork fingerings, or used to make a distinction between sharps and flats.
Here are the descriptions for high b and c (for a recorder in c):
High b is played in the
following manner : for the upper hand the thumb hole is more than
half closed, the first hole is closed ; for the lower hand the holes
for the index, middle and ring fingers are closed. This is a 2nd
register note.
High c is played in the
following manner : for the upper hand the thumb hole is more than
half closed, the first hole is closed; for the lower hand the holes
for the index, and middle fingers are closed. This is a 3rd register
note.
Blankenburgh does in fact give
use the same fingering for b as Ganassi and Virgiliano, whereas his
high c is a 3rd register note as in Mersenne. These 2 notes are
both easy to play, even in fast passages. Some prebaroque recorders
can play both Bankenburgh's 2nd register fingering for b and
Mersenne's 3rd register fingering for the same note.
Show a complete chart of all Blankenburgh's fingerings.
For more information about registers see the page on how recorders work.
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Bismantova
Here is the first
chart for a baroque type recorder, published by Bartolomeo Bismantova
in 1677. The fingerings are for a recorder in g, which had remained a
solo instrument in Italy.
The figures indicate closed holes (1 = thumb hole)
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Freilhon-Poncein
Freilhon-Poncein's LA VERITABLE MANIERE D'APPRENDRE A JOUER EN PERFECTION DU HAUT-BOIS, DE LA FLUTE ET DU FLAGEOLET was published in 1700. It contains three fingering charts for the recorder (flûte).
The natural notes, sharps and flats are shown in different tables . A part from b and b flat, the fingerings
are the same as those of our modern recorders, over a range of two octaves and one note (from f1 to g3). There is no f#3.
The fingerings for the sharps and corresponding flats are the same.
The next to last hole is often closed, probably as an aid to holding the instrument.
Hotteterre
This chart is
probably the best known or the fingering charts of the baroque
period. It belongs the Jacques Hotteterre-le-Romain's treatise,
published in 1720. The fingerings are similar to those of Freilhon-Poncein.
Basic fingerings
trills
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English recorder tutors
Several tutors for the recorder (common flute) were published in England during the 18th century. They usually contained fingering charts like this one, from The Muses Delight by John Sadler (1754).
Stanesby
Here is a fingering chart for a recorder in c, published by Thomas Stanesby Junior around 1732 in his pamphlet
on the tenor recorder. It makes a diference between sharp and flat notes, and also includes a fingering for the difficult high c#.
x = partially closed hole
Note: There may be a mistake in one of the fingerings given for f in this chart. For the octave to be in tune, the forks are normally not identical in both registers.
If low f is correct, the next to last hole should only be partially closed for high f (as in Hotteterre fingering).
If, on the other hand, high f is right the bottom hole should be closed as well for low f (as in modern fingering).
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