Modern Harmonic Recorders

An Introduction with musical examples by Nik Tarasov

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.

History and models of Moderne Harmonic Recorders

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.

Musical example: Sonata in F major after BWV 1031, 2nd movement, by J. S. Bach, performed by Nik Tarasov (Modern Harmonic Alto Recorder by Joachim Paetzold) and Michael Weiger (Pianoforte)

The Alsatian recorder maker Maarten Helder was also inspired by the new concept and integrated it into his own new models.

Musical example: Sonata in F major after KV 373 (374 d), 1st movement, by W. A. Mozart, performed by Nik Tarasov (Helder Alto made by Maarten Helder & Mollenhauer) and Michael Weiger (piano)

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.

Video example: Duo concertant op. 16, 1st movement, by Ernest Krähmer, performed by Nik Tarasov (Modern Harmonic Alto in G made by Mollenhauer) and Michael Weiger (piano)

The Helder models were revised in 2020 and closer adapted to the fingering of other Modern Harmonic Recorders.

Video example: Variation and Theme of the 2nd movement from the "Kaiserquartett" by Joseph Haydn, performed by Nik Tarasov (Prototype of the Helder Evo Alto made by Mollenhauer) and Michael Weiger (piano)

Video example: Romance No. 1 in a op.1 for recorderin C and piano by Michael Weiger, performed by Nik Tarasov (Helder Evo Tenor made by Mollenhauer) and Michael Weiger (piano)

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.

Synpor

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).

 

Elody

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.

 

Instructions for use of the Elody (Download)

 

Prevalence

After the success of Modern Harmonic Recorders through the cooperation of Mollenhauer & Nik Tarasov also other manufacturers took up projects in this field.

 

Characteristics

The ideal of pure harmonics

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.

Effects of the harmonisation

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.

Sound example: "Anadolia" (Theme and Variations) by the American composer Stephen C. Foster, performed by Nik Tarasov on a  Modern Alto made by Mollenhauer

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.

Sound example: Fantasia No. 9 TWV 40:10 by G. Ph. Telemann, performed by Nik Tarasov on a Modern Alto made by Mollenhauer

 

Fingering

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).

Chromatics

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.

Sound example: Three little pieces (1958) by Helmut Bornefeld, performed by Nik Tarasov on a Modern Alto made by Mollenhauer

Soundscapes

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.

Overblowing patterns

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.

Operating modes

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.

Functional example

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)

 

Expanding musical horizons

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).

Practical example

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:

Baroque music

Original recorder pieces from the Baroque can be performed smoothly in modern pitch on Modern Harmonic Recorders.

Sound example: Sonata in G major, 1st and 2nd movement, by Gottfried Finger, performed by Nik Tarasov (Modern Alto made by Mollenhauer), Ulrich Sommerrock (lute) and Hermann Heinrich (violoncello)

Sound example: Sonata in A minor TWV 41:a3 by G. Ph. Telemann, performed by Nik Tarasov (Modern Soprano made by Mollenhauer), Olga Watts (harpsichord) and Lyndon Watts (basson)

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.

Sound example: Ricercar No. 5 from "Sette Ricercari per il voiloncello solo" (1688) by Domenico Gabrielli, performed by Nik Tarasov on a Modern Alto made by Mollenhauer

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.

Sound example: Allemande from the Partita BWV 1013 by J. S. Bach, performed by Nik Tarasov on a Modern Alto made by Mollenhauer

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.

Extension

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.

Sound example: Variations per Pianoforte avec accompagnato d'un czakan (1810), version in C major, by Archduke Rudolph of Austria, performed by Nik Tarasov (Modern Soprano made by Mollenhauer) and Wei Tsin Fu (piano)

Sound example: Grande Caprice No. 1 (1864) by Narcisse Bousquet, performed by Nik Tarasov on a Modern Alto made by Mollenhauer

The oboe's early romantic repertory frequently uses the semitone below the fundamental note.

Sound example: Concertante Etude op. 77 No. 1 (c. 1880) by Hans Schmitt, performed by Nik Tarasov on a Modern Soprano made by Mollenhauer

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".

In modern Ensembles

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.

Video example: Brandenburg Concerto No. 4 BWV 1049, 1st movement, by J. S. Bach. Orchestra Mozart, Claudio Abbado, Michala Petri and Nik Tarasov – performed on Modern Alto Recorders made by Mollenhauer

 

Making music in a loud band context

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.

Sound example: "Leith Wynd" (Theme and Variations) after James Oswald (1742), performed by Nik Tarasov (Modern Soprano made by Mollenhauer), Ralf Specht (guitars), Oliver Biella (double bass), Aleks Tarasov (drums & programming)

Sound example: "Remmidemmi" (Theme und Variations) by Nik Tarasov (2004), performed by Nik Tarasov (Modern Soprano made by Mollenhauer), Ralf Specht (guitar), Oliver Biella (double bass), Aleks Tarasov (drums & programming)

Sound example: "Wolken" by Aleks Tarasov (2005), performed by Nik Tarasov (Modern Sopranos made by Mollenhauer), Ralf Specht (guitar), Oliver Biella (double bass), Aleks Tarasov (drums & programming)

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.