Customer Reviews

The Recorder Book

5 star:		(6)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

This is the best book yet written on the recorder. Ken covers the instrument's history and traditional repertoire; every aspect of technique, note by note; breath control and articulation problems; and makes a thorough study of performance considerations and practice habits. He also gives complete recommendations on selecting and caring for a new recorder.

It is written in a relaxed, friendly style; very easy to follow and understand. This is THE book every recorder player should have, whether a novice just starting or an experienced player who wants to improve.

The book's main shortcoming is its age. Written in 1982, a few details have become dated, particularly the list of recommended works to play. While the list is still valid, it could be longer with more recent works added. There have also been advances in recorder design and materials since 1982.

I would also like to see discussion of applying the recorder to popular music of the twentieth century, but this is a personal beef I have with every recorder book. They all focus on the traditional Renaissance and Baroque music, with mention of modern works only in the classical genre.

Another drawback is that the book's continued popularity has meant that used copies usually have an outrageous price. With patience, I eventually lucked onto a good condition hardcover for $15. Most listings tend to start around $25 for a softcover, up to well over a hundred for a fine hardcover.

I understand that Mr. Wollitz is currently at work on a revised edition, that will hopefully be published within the next year. I look forward to it.

This book is an excellent guide to recorders and recorder music. The author, a well-known recorder teacher, has documented in this book many different aspects of his teaching and playing. Topics covered include technique (breath, articulation, fingering, and vibrato), practicing, ornamentation (trills, mordents, and appoggiatura "grace notes"), ensemble playing, selecting and caring for a recorder, and notes on the recorder repertory. There is an appendix at the back of the book covering the beginner's first lesson, a fingering chart, major and minor scales, and miscellaneous suggestions about playing music. There is also a glossary, and a list of recommended books for further reading, as well as an index.

I recently joined a recorder ensemble comprised of enthusiastic if uninformed musicians. We were struggling with trying to guess the differences between a trill and a mordent, and how one would play such ornaments. We were delighted to find clear explanations for these ornaments in this book. I also found much useful information about how to care for our instruments, and how not to damage them through ill-advised practices. The lessons on developing vibrato clear up another mystery about recorder playing, and the advice about rolling the left thumb rather than gouging the thumb hole is very intriguing.

Although the book could be used perhaps by those who are complete beginners to music, it is recommended that readers at least know how to read musical notation before picking this book up. Throughout the book, Willitz assumes that the reader will be working with an alto rather soprano recorder, but it is only in the end of the book that he explains why this is so: adult hands fit altos better than sopranos, the tone of altos is preferred by some, and much serious recorder music was written for altos rather than sopranos. Nevertheless, most readers these days who started recorder either as children or as adults who bought the first instrument they found in the store will probably be more familiar with soprano recorders and their fingerings. For this reason, it would have been useful if Willitz had provided soprano fingerings as well as alto fingerings in his discussion; it would have been especially good to include soprano fingerings in the alternate fingerings section. An odd aspect of the book is that the fingering chart found in the appendix is for soprano recorders, although it not labeled as such, and is at odds with all the other fingerings in the book, which are for altos.

Willitz's musical advice goes far beyond recorder playing. In the practice section, he describes techniques for working out difficult passages that would apply well to any instrument practice, or perhaps even voice. He discusses selecting pieces for a solo recital, and provides advice for how to arrange the pieces in the recital. He even has some practical suggestions for choosing a music stand or storing music. The text is quite readable, and highly informative.

I, also, am looking forward to the updated version of "The Recorder Book" by Kenneth Wollitz. He has done a superb job of providing the perfect guide for recorder players. The information that most needs to be updated is that for the graded repertory and recorder care/selection sections. I also think it would be a good idea to add C fingering and music notation (side by side with F fingering) in the Beginner's First Lesson section, as many adults opt to start on the soprano recorder. The pratice, fingering, articulation, ornamentation and ensemble playing tips are all excellent.

Overall, the book remains the favorite in my library of recorder handbooks. This is a "hand-on" guide. Historical repertoire is referenced well and technique could only be presented better from a personal, well qualified instructor.

Judy Siegrist

Kerrville, Texas

When it comes to music instruction what you really want is someone who not only knows what they are doing but who does it extremely well, both from the standpoint of praxis (that is, the ability to do themselves what it is they are trying to teach) and from the standpoint of teaching ability. In Kenneth Wollitz one finds a remarkable example of both skills--anyone who has heard him play recorder knows that he is indeed one of the pre-eminent recorder players of his generation, and all you need do to see what a great teacher he is is to read this book.

The book contains not only basic and elementary points of instruction, but progresses in a natural and methodical way through all of the finer points of recorder playing. There are also chapters on how to choose and care for an instrument, how to get involved in early music generally, and general advice about musicianship.

I was already an accomplished recorder player when I decided to read this book--mostly to see what such a well known recorder player had to say about practicing habits--but I can honestly say that even an expert will enjoy reading this book. The text is suffused with a warmth and humor that is difficult to find nowadays, and one begins to feel that Ken Wollitz is like an old college chum. I found myself laughing out loud at some of his remarks. For example, while discussing the use of a metronome during practice sessions, he notes that it is usually easier to just allow a beginner to tap his toe while practicing (when I was first learning, I distinctly remember my own teacher putting her foot firmly on top of my own to keep me from doing just that!), and goes on to say "Almost everyone moves his toes while playing, but what goes on inside your shoes is your own affair." To me, this is delightful for two reasons. First, it sets the beginner's mind at ease: don't worry if you tap your toe while you play--just about everyone does something like that at one time or another. Second, it dismisses possible pedentic objections with a wink and a nod, allowing even the advanced player to lighten up a little and see that it is possible to get too serious. And the book is filled with this sort of chatty repart?, making it one of the easiest to read technical books I have ever seen.

The book, published in 1992, is only slightly dated (how out of date can a book about recorders be, anyway?), namely in the list of resources. For the most part, though, the bibliography is excellent and contains many fine examples of further reading for the interested player. Of particular interest is the repertory listing, which will give you more suggestions for playing than you will know what to do with.

If only there were a book like this for every instrument!

I agree with all the 5-star ratings above without repeating what was stated. I have bought quite a few recorder books now and this IS the ULTIMATE RECORDER HANDBOOK for the SERIOUS STUDENT who desires to GO DEEPER or ADVANCE AS FAR AS ONE CAN. An ENLIVENING KNOWLEDGEBASE on the art of (recorder) music making.

To read the book is like to have a very knowledgeable professor or gifted teacher next to you - inspiring and instructing everyone who wants to play more beautifully and skillfully. The author empathizes & affirms your learning experiences, travels with you along your journey, preempting pitfalls and imparting invaluable tips for mastery. From selecting a recorder to making it sing, from practicing more effectively to playing in ensembles and enriching your repertoire - this book is invaluable. Everything I need is in here. I love it.

I am glad I found this book early in my return to the instrument after decades of abandon. Great guide for the beginner, intermediate or advanced.

Well structured. Knowledgeable. Connects.

This is very close to THE major source as the 20th century textbook for recorder players and teachers. All topics of playing: breathing, articulation, instrument selection, literature, etc. are well covered and explained for the beginner, learning without a teacher; for a teacher, searching for another way of explaining a concept to a student; and to the more advanced player striving to gain skill and technique.

This book was exactly as described and i am very satisfied. It was delivered promptly and accurately. I would recommend this to everyone.

This book is packed with information about the recorder. I found it easy to read and believe that this book belongs on every recorder player's book shelf.