Music Recorder Free Download For Pc

The Recorder Music Center (RMC) is operated and maintained jointly by the Department of Fine and Performing Arts and the Dayton Memorial Library at Regis University. Its purpose is to provide an international repository of recorder music and a friendly, full-service research center for recorder music. The RMC will also support academic programs and performance ensembles offered through the Department of Fine and Performing Arts Music Program at Regis. The RMC is quickly gaining international attention as a center for early music activities

The instrument collection of the Recorder Music Center includes various sizes and makes of recorders and other early wind and string instruments. Some instruments in the collection are on permanent display on the third floor of the Dayton Memorial Library. Others are used by students, faculty and staff in the Regis Collegium Musicum.

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The Archival Recorder Music Collections are found on the 4th floor of the library, room 401. The archival collections are non-circulating and document the significant contributors to the recorder music movement from its early days onward.

The Recorder Music Center accepts both small and large collections of early and contemporary music scores for the recorder and other early instruments, musical instruments, papers, art work and other documents relating to the recorder movement. All donations are fully tax deductible. Contact the Music Department if you are interested in making a donation.

Available exclusively at West Music, Harmony recorders have proven to be a teacher-favorite year after year. These recorders are ideal for students because of their affordability, excellent intonation, durability, and smart design that makes for easy handling and simple maintenance.

The Harmony by West Music WM2400 Soprano Recorder is our best-selling recorder of all time. This high-quality three-piece recorder is everything teachers look for in a classroom instrument. The WM2400 has great intonation, beautiful tone, extreme durability, all at an affordable price! The curved windway gives a better response and tone. The double holes on low C/C# and low D/D# allow students to expand their chromatic range.

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This center is simple. I have flashcards (from these sets) with different four-beat melodic patterns. On one side is stick notation with note names, and on the other side is the same pattern on the staff. Students can use whichever side they need to, and play the patterns on a xylophone. I recommend using soprano xylophones, since they are quieter. The first time I tried recorder centers, I made the mistake of using resonator bells. I know. What was I thinking?! They were SO LOUD. Now, I use soprano xylophones and soft yarn mallets. Much better.

"The MIE 205 Renaissance recorder fits comfortably in the children's hands, is easy to get a sweet sound from, and has a very accessible low range. Whether you start on C' A, GE, or BAG (I've done them all!) this recorder helps attain a lovely tone quality."

Conservatory faculty maintain active performance schedules while remaining accessible and committed to their students. Individual instruction is paramount to helping students develop their mechanical, technical, stylistic, psychological, and musical skills.

Times After Times

by Steven A. Jent, July 2016

Occasionally when I listen to unfamiliar music I'll hear a phrase and think I know what's coming next, and then I'm surprised when the composer does something different. Sometimes this prompts me to base a composition of my own on what I was expecting to hear but didn't. The first theme for this cheerful piece of swing was suggested by the brief ditty that plays when you complete a crossword puzzle on the New York Times website.

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Tango on a Ground

by Bradford Wright, 2017

As the name suggests, this is a tango with a ground. The instrumentation is two alto recorders, piano, and long-suffering cello. It is easy to play. Some say it has a Theremin-like quality to it. My guess is that you will love it or hate it. This is a companion piece to Roon's Tune.

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Cool Cat Rooney

by Bradford Wright, 2018

Another in the series of jazzy new music for two recorders, piano, and cello. Intermediate level. Rooney the cat personally supervised the composition. The rolled chords at the end on the mp3 are too fast, but it was the best that I could get.

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Swing Lower, Sweet Chariot

by Bradford Wright, 2018

This is a jazzy take on the spiritual Swing Low Sweet Chariot. I originally wrote this piece for men's choir (freely available on request) with some added text. I discovered that it also works very well with low recorder choir, and could be useful as a prelude in church. Playing level is intermediate, but it takes some practice to polish the transitions.

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Pholia for Alto Recorder and Piano

by Anthony St. Pierre, May 2006

The famous Folia of Corelli was the inspiration for Pholia* for alto recorder and piano. The intent was to provide a modern alternative to the Corelli, which, although composed for the violin, has long been a staple of the recorder repertoire. (The edition for recorder appeared just two years after the original violin version.)

Although not as lengthy (duration: 8:40), the Pholia offers a wider variety of keys, modes, harmonies, textures, and meters than the Corelli. The piano is not subordinate to the recorder in the Pholia; it participates equally in each variation. Performed by Anthony St. Pierre, alto; Larry Green, piano

* So spelled to distinguish from other Folias

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Sonata da chiesa for Two Soprano Recorders and Continuo

by Anthony St. Pierre, September 2007

The triosonata, the sonata for two treble instruments and a bass, was one of the most popular forms of instrumental chamber music of the baroque and the Italian violinist, Archangelo Corelli, a universally renowned and influential composer in this genre. He composed two varieties of triosonata: the largely terpsichorian sonata da camera, and the sonata da chiesa or church sonata, founded on the organ idiom of the 17th century.

The present triosonata is of this second variety. The harmonic idiom, perhaps evoking Stravinsky in places, is thoroughly modern, but the overall form and the melodic style remain very "Corellian" hence the subtitle, The Modern Corelli. (An earlier subtitle, appearing on the SoundCloud recording, was Il Aggiornamento, meaning an "updating" or "renovation.") The piece is light-hearted parody.

Players of intermediate skill will be comfortable with the technical demands. Ideally, the two soprano recorders will be accompanied on the organ (8-ft. flute stop) Alternatively, the harpsichord is acceptable. The bass part (cello) is optional.

Players may wish to play to the accompaniment provided here. In each of the four movements, the two recorders begin with the organ, so a count-in is necessary. Players must take note that the beat immediately before the downbeat is a one-beat rest (silence). So for a six-beat count-in, the players hear: 1-2-3-4-5-[rest]-|play; a four-beat would be 1-2-3-[rest]-|play, etc. The rest is of course where they breathe.

Duration: 7:00 Performed by Scott Paterson and Anthony St. Pierre, sopranos; and Anthony St. Pierre, organ

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Accompaniment

Fantasy on 'Schenectady' for SATB recorders

by Anthony St. Pierre, December 2010

The Fantasy on 'Schenectady' might recall the Americana style of composers like Aaron Copland or Virgil Thompson. In 1801, Nehemiah Shumway of Schenectady, New York published a shape-note fuguing tune that he named 'Schenectady.' It is in the primitive style best known in the work of William Billings. (The composer is, himself, a native of Schenectady.)

Possibly the greatest challenge in this quartet is achieving pure tuning in the bare octaves and fifths, as well as in the parallel octave passages. Triple-barred note stems indicate flutter tonguing. Tricky entries for the tenor are eased with cues above the staff. Duration: 6:20 Performed by Scott Paterson, soprano; Anthony St. Pierre, alto; Anne Massicotte, tenor; Janos Ungvary, bass

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Phrygian Impromptu (unaccompanied S or T)

by Anthony St. Pierre, August 2005

This brief (approx. one minute) piece features conjoined phrase halves that are rhythmic mirror images of each other. (i.e. duple eights, triplet eights, sixteenths, then the reverse). Each phrase is on the phrygian scale a fifth higher than the previous until the midpoint, where the sequence of transpositions is reversed (i.e. c, g, d, a, then the reverse) before a codetta. The performer should play very freely, as if improvising. The score appears here for C recorders, but it may be transposed for F instruments if desired.