Modern Harmonic Recorders: This topic generally describes the most recent independent concept in the family of the recorder. In many different respects, this development extends far beyond the qualities of many copies of historical recorders by combining their traditional aspects with innovative ideas. This opens up new horizons for the musical interpretation.
The conception of Modern Harmonic Recorders was developed at the beginning of the 1990s by Nik Tarasov and was first used in instruments made by Joachim Paetzold in Tübingen/Germany.
The Alsatian recorder maker Maarten Helder was also inspired by the new concept and integrated it into his own new models.
Recorders concepted by Tarasov/Paetzold and Helder were made in series production since 1996 by Mollenhauer in Fulda/Germany. Build in modern pitch, mostly in C and F sizes, there is also one transposing Modern Alto recorder in G ensuring an output full of sound for special musical situations.
The Helder models were revised in 2020 and closer adapted to the fingering of other Modern Harmonic Recorders.
Modern Harmonic Recorders made by Mollenhauer can be divided in two categories:
The new Helder Evo models have a wider bore supporting a wider sound spectrum, and their mechanism is equipped with several keys, among these a special key for the realization of soft passages and the dynamical shading of all tones. For many kind of sound experiments there is the »Sound-Unit« with a movable block as its most integral part.
The Modern Soprano and Modern Alto Recorders with two or three keys have a comparably narrower bore. It enables an agile performance with a focussed tone in all registers with minimum efforts. These models are basically orientated on traditional recorder designs, but they expand it in several aspects.
Furthermore, instruments in the size of an alto in F are available in two different voicings: the "baroque voicing" follows a rather traditional sense of sound which is modelled in a more brilliant and centred way towards a distinct ideal tone. The sound centre functions best withing two octaves. Altos with a "modern voicing" offer a wide variety of sound possibilities. They are regulated in an active way by the embouchure of the player. Two and a half octaves can be shaped in a rather flexible way.
In 2002 Nik Tarasov developed "Synpor" in cooperation with the German inventor Hans-Joachim Burger from Regensburg/Bavaria. "Synpor" is an absorbing but non-swelling block material. It is used for any model of Modern Harmonic Recorders made by Mollenhauer.
Realized as a special composite block, the combination of "Synpor" and cedar wood provides positive application characteristics and a higher resilience even in a longer period of performance. In issue 2001-2 of the German recorder magazine Windkanal is a describing article entiteled "Synpor – or the Art of Invention" Synpor – oder die Kunst des Erfinders (on page 14, in German only).
Since 2013 Mollenhauer makes "Elody" – the first electro acoustic alto recorder developed by Nik Tarasov in modern harmonic concept. Connected to custom analogue or digital effect units and amps similar to an electric guitar, a multitude of alterations in sound and volume can be achieved. This new instruments works best in the context of band music.
After the success of Modern Harmonic Recorders through the cooperation of Mollenhauer & Nik Tarasov also other manufacturers took up projects in this field.
In the making of Modern Harmonic Recorders, a basic construction principle has come to be the prevalent system: the lowest tones, provided by the foot-joint section of the recorder, should overblow into well-tuned harmonic intervals.
In contrast to traditional recorders, this system deserves a prolongued bore and at least two big open tone holes in semitone distance placed in the recorder's foot. These holes need to placed at its acoustically correct position, and they need to be operated by an appropriate key mechanism.
While the other parts of the instrument may remain in their traditional shape to support the player's usability, the new extended foot joint and the prolongued bore work like a musical supercharger. Many previously disadvantageous effects of recorders with inverted conically shortened bore are tremendously improved through this modern harmonic system.
Through the new system, the previously too weak lowest tones of the first register are stabilized and can be now equally forcedif necessary. This gives the instrument a solid basis.
If compared with traditional recorders (in particular with baroque models), the lowest tones of Modern Harmonic Recorders must be blown more intensely. This upgrade of the lowest tones into a higher sound pressure is necessary for their equalizing with the entire range of tones. In consequence, they will acoustically not fall out of perception for the audience and other ensemble partners.
The harmonizing effect for recorders of the Modern Harmonic design increases if they are equipped with a third key on the foot joint plus an additional extension of the foot bore. Then the exended semitone below the basic scale is playable, and many other tones can be positively influenced as well. Also all chromatic trills within the range of two octaves are playable.
Furthermore, the transition from the 2nd to the 3rd octave will come more easily in attack and in regard of acoustic possibilities.
On Modern Harmonic Recorders, tones of the third octave work less force and pressure – they can be played in a noble way and with a clear sound color.
In the harmonized recorder system, there are no defaults of certain high tones which otherwise just can be activated by closing the end hole. On a traditional conical alto recorder with a short bore, in the third octave, F sharp and A rank among these problematic tones, although they turn up in the classical repertory from time to time.
Within two octaves it is possible to play on currently available Modern Harmonic Recorders with standard fingerings. Beginning from the third octave, "new" fingerings are introduced, like shown on this fingering chart for a Mollenhauer Modern Alto with two keys.
Interestingly some of the new fingering of the third octave is not a perfect stranger: a closer look to some elaborated original fingering charts of the late baroque era makes clear that they have bee already depicted before. It remains an unsolved mystery why these fingerings never work in tune on today's copies of old recorders but work on recorders of the modern harmonic system! (More explanations on this topic are shown in the article "Flying High" in Windkanal 2008-2 (in German only).
On the basis the acoustic harmonization of harmonic structures the chromatic scale appears to be better in tune. The formerly rather diatonically concepted recorder is profiting from this achievement by the ability of improving relevant passages of chromatically based compositions.
Tones of the third octave are easier accessible and do not need to be forced anymore. The basis of a logically structured overblowing system allows the performance with many variants. Apart from the basic fingerings also useful alternative fingerings appear to be easier to comprehend.
Modern Harmonic Recorders are constructed on the basis of purely overblowing foot tones. This phenomenon was first described for the transverse flute in the middle of the 18th century by de Lusse. Further information on this topic is available in Germany only through an article in Windkanal 2018-2.
But fragmentary hints of this principle can also be found in relation to the recorder – starting with Ganassi's fingering charts from 1535, in some late-baroque charts, in relation with the nineteen-century Csakan recorder and some progressively constructed German recorders of the 1930s and 1940s.
Modern Harmonic Recorders are combining these characteristics deliberately in one single construction system.
If a recorder player wants to leave the first register for higher tones, the combination of two playing techniques is necessary: one tonehole needs to be partly openend and the blowing pressure needs to be focussed. The higher upwards on the scale, the more specification of both techniques is required for achieving a good sound.
Like described in many old sources, the thumbhole is partly opened mainly to get a good response of the second octave's tones. Not later than for the third octave some more toneholes should be partly opened. What is implemented on the recorder behind this process? It is the general idea on the basis of certain varying fingerings to overblow in appropriate areas with the goal to get certain high tones work.
While the allocation of these areas seems to be coincidental on traditional recorders due to their designs,
Sound example: overblown harmonics above the basic tone (low F) of a Denner Edition Alto made by Mollenhauer
a greater amount of fingerings is intentionally assigned to appropriate harmonic areas on Modern Harmonic Recorders. In best practice, the fingerings match the natural overtones.
Sound example: overblown harmonics above the basic tone (low F) of a Modern Alto made by Mollenhauer
This principle of the relation between fingerings and overtone areas is illustrated in the following:
Overtone behaviour on the fundamental tone, explained in fingerings and musical notes on a Denner edition Alto made by Mollenhauer
Overtone behaviour on the fundamental tone, explained in fingerings and musical notes on a Modern Alto made by Mollenhauer
For a good transition from one overtone to his neighbour it is necessary to focus the blowing pressure. (Do not blow harder! Overtones are flageolets which activate easier by nature if they are not forced.) Furthermore, changings in the blowing pressure are supported by additional partially covered fingerholes.
Read more on this topic in the following article: Windkanal 2018-3 (in German only)
The logical systematization of overtone areas on Modern Harmonic Recorders on the basis of natural harmonics makes the overblowing process more comprehensive and more accessible. Their effects on the musical presentation neutralize the weaknesses of the recorder and enables a wealth of additional possibilities in the musical expression for the traditional repertory and new music.
Great potential lies in the harmonization of the recorder's tones with their related natural overtones: there is more stability and more spectrum in the tones – an aspect very helpful when playing together with other modern instruments (which themselves went through their harmonization process long ago).
The unique features of recorders based on the modern harmonic design can be used in many musical contexts. Several such aspects are presented in the following musical examples:
Original recorder pieces from the Baroque can be performed smoothly in modern pitch on Modern Harmonic Recorders.
There are many challenges in certain pieces of the Baroque repertory which are sometimes problematic to execute on traditional recorders.
Baroque music is characerized by its pyramidal tone aesthetic: Tones of the lowest register mark the foundations represented in the basso continuo – these notes have to be always performed fuller in sound. The higher tonal scale ascends, the leaner the tone color.
By nature, Modern Harmonic Recorders are pyramidally oriented from a strong tonal basis to a lean height. In consequence, any baroque solo music without accompaniment is easier to perform. The latter is usually composed according to the principle of hidden polyphony. Its low tones need to be pointed out and their highest tones must be always played effortless in broken chords and split up motives.
Music formerly written for pyramidally constructed instruments, like any work for the baroque transverse flute, but also for strings, like Bach's Suites for violoncello solo (in the realization for recorder by Jean-Claude Veilhan) can ideally be performed on Modern Harmonic Recorders.
The ideal of a pyramidal tonal structure goes far beyond the Baroque era. It is dominating also the Belcanto era, an element of the imprssionistic shimmering. Especially on the recorder, pyramidal nuances serve the illusion of a wider dynamic range. It is even extremely active in modern bass and rhythm-based dance music, with its essential bass cells and chords in baritone register, which can be better realized on Modern Harmonic Recorders, in particular with the aid of supporting effect tools.
The usage of additional extension tones below the fundamental has become a standard on woodwind instrument since the romantic repertory.
Accordingly, this aspect also turns up in the original repertory of ambitious recorder instruments of the 19th century, like the Csakan (article in Windkanal 2009-1 – in German only) and the French Flageolet, in works of Archduke Rudolph of Austria, Josef Gelinek, Anton Diabelli, Carnaud aîné, Narcisse Bousquet, and others.
The oboe's early romantic repertory frequently uses the semitone below the fundamental note.
Some modern editions especially made for the Modern Harmonic Recorders make use of the extension below the fundamental:
Franz Schubert: Sonata A minor »Arpeggione«
»Il Extremelo«, edited by Karel van Steenhoven
Due to pitch differences in the 18th century, composers like Bach were forced to write more then only one version of a cantata. If set in different keys, some of the parts for alto recorder exceed the normal instrument's range. If performed today in modern concert pitch and on modern instruments, such problems can be avoided through the usage of Modern Harmonic Recorders. This topic is described in two German articles in Windkanal 2005-2 & 2005-3. The English translation of the German version is available online in the rubric "For English readers".
The interaction with other modern instruments in modern concert pitch feels easier by using Modern Harmonic Recorders especially through their sound intensity in all registers and their tonal variability. Playing together with modern grand piano, the large organ, chamber ensembles and modern orchestra is now a meeting on more equal terms.
Modern Harmonic extended Altos are advantageous if performing together with guitars, bass guitars or the double bass. What these plucked string instruments have all in common is the tone E as the lower limit of their tonal range which is steadily used in the musical material.
Many standard popular pieces and some folk-music arrangements make use of these extension notes.
Low E is also the deepest tone on Mollenhauer's extended Modern Alto.
More musical examples with Modern Harmonic Recorders in pop and rock music are presented on the album "Kaleidoscope" by Vintgar (available as CD, sheet music with play-alongs) Link to the trailer.
For questions about Modern Harmonic Recorders please contact Nik Tarasov.