Contribution
Is there a principle effect of cross-fingering on the timbre of recorders?
* Presenting author
Abstract:
It has previously been shown that the recorder sound is characterized by a high variety of timbres, mainly driven by specific configurations of the lowest five harmonics. The resulting tone-to-tone variability of timbres cannot essentially be influenced by the players embouchure. It is a typical feature of the instrument. The expression of music played thus strongly dependes on the design of the instrument, individual strategy of the instrument maker, and key of the performed piece.The typical instruments allow playing of each chromatic tone whithin the whole gamut, with few exceptions. Due to the fact that 8 to 10 finger holes are available for adjustment of 12 tones per octave, special fingering patterns need to be facilitated, denominated as cross- or fork-fingering.Since several centuries, however, a degradation of timbre by cross-fingering applied to recorders and transverse flutes has been claimed. This contribution aims at a verification of such statements in a pricipal manner, without including detailed examinations of the acoustic behaviour. It focuses on timbre in steady-state condition by comparison of cross-fingering and ’normal’ pattern. New builds of instruments according to historical models have been used.