Bibliography

This bibliography concerns recorder fingering. A more convenient and flexible way of exploring it is via the Zotero citation database underlying this site. The Zotero interface is straightforward to use and allows you to export selected entries in a variety of formats and to create your own citation lists in a range of journal styles. All you need is your web-browser. This will be of particular assistance to students and researchers.

  • Agricola, Martin. 1994. The “Musica Instrumentalis Deudsch” of Martin Agricola; a Treatise on Musical Instruments, 1529 and 1545. Edited and translated by William E. Hettrick. Cambridge: Cambridge University Press.
  • Agricola, Martin. 1529. Musica instrumentalis deudsch ynn welcher begriffen ist, wie man nach dem gesange auff mancherley Pfeiffen lernen sol, Auch wie auff die Orgel, Harffen, Lauten, Geigen, und allerley Instrument und Seytenspiel, nach der rechtgegrüdten Tabelthur sey abzusetsen [A German instrumental music, in which is contained: how to learn to play many kinds of wind instruments from vocal notation, and also how to set music into the appropriate tablature for the organ, harp, lute, fiddle, and all kinds of keyboard and string instruments]. Wittenberg: George Rhau. http://imslp.org/wiki/Musica_instrumentalis_Deudsch_(Agricola,_Martin)
  • Anastasio, Angelo. 1994. “Let’s Get Those Fingers Limbered Up!” American Recorder 35 (3): 7–9.
  • Bauer, Winfried. 1999–2015. “Blokis Recorder Fingerings.” Blockis Homepage. http://www.recorder-fingerings.com/en/index.php
  • Bennetts, Kathryn, Donald Bousted, and Peter Bowman. 1988. The Quarter-Tone Recorder Manual. Celle: Edition Moeck 2084.
  • Bowman, Peter. 2017. “What’s the Point of Alternative Fingerings? Alternative to What?” Recorder Magazine 37 (1).
  • Blaker, Francis. 1988. “Opening Measures: More Trills, Fewer Spills.” American Recorder 39 (4): 28–29.
  • Blanckenburgh, Geerbrant Quirinjnszoon van. 1654. Onderwyzinghe Hoemen alle de Toonen en halve Toonen, die meest gebruyckelyck zyn, op de Hand-Fluyt Zal konnen t’eenemael zuyver Blaezen, en hoe men op yeder  ‘t Gemackelycks een Trammelat zal konnen maken, heel dienstigh voor de Lief-hebbers [Instructions for How One Can Learn to Play all the Most Usual Tones and Semitones On the Recorder in Tune, and How One Can Make a Trill in the Easiest Way on Each One – Very Useful for Music Lovers]. Amsterdam: Paulus Matthysz.
  • Blood, Brian. 2015. “Recorder Thumbrests.” Dolmetsch Online. Accessed June 2. http://www.dolmetsch.com/recorderthumbrest.htm
  • Bloodworth, Dennis. 1985. “The Baroque-Fingered Recorder.” Recorder and Music Magazine 8 (5): 151–53.
  • Bolton, Philippe. 2005. “Tableux comparatifs de quelques systèmes de doigtés historiques pour les flûtes à bec. Tableaux de doigtés de Virdung,  Ganassi,  Jambe de Fer,  Mersenne,  van Eyck,  Bismantova,  Hotteterre,  Stanesby = Comparative tables of some historic fingering systems for recorders. Tables of fingerings by Virdung, Ganassi, Jambe de Fer, Mersenne, van Eyck, Bismantova, Hotteterre, Stanesby.” Philippe Bolton, facteur de flûte à bec. http://www.flute-a-bec.com/tablhistocomparatif.html
  • Bolton Philippe. 2013. “Historikus ujjrendek [Historic Fingering].” Translated by Balázs Bánfi. hu. http://furulya.hu/historikus_ujjrendek/
  • Bolton, Philippe. 2005. “XVIIth Century Recorder Fingerings (Ganassi or Pre-Baroque).” Recorder Magazine 25 (1): 7–12.
  • Bolton, Philippe. 2013. “Tablatures historiques de doigtes de flûte à bec = Historical Recorder Fingering Charts.” Philippe Bolton, facteur de flûte à bec. http://www.flute-a-bec.com/tablhisto.html
  • Bottrigari, Ercole. 1594. Il desiderio overo de’ concerti di varii strumenti musicali  [“Il desiderio” or Concerning the Playing Together of Various Musical Instruments]. Venice: Gioambattista Bellagamba. https://books.google.com.au/books?id=Nww5AAAAIAAJ
  • Bottrigari, Ercole, and Vicenzo Giustiniani. 1594/1962. 1. Hercole Bottrigari: Il Desiderio or Concerning the Playing Together of Various Musical Instruments. 2. Vicenzo Giustiniani: Discorso Sopra La Musica [Discourse on Music]. Edited and translated by Carol MacClintock. Musicological Studies and Documents 9. American Institute of Musicology. http://www.corpusmusicae.com/msd/msd_cc009.htm.
  • Bouterse, Jan. 1998. “Alternative Fingerings for Long-Foot Baroque Recorders.” FoMRHI Quarterly 90: 26–29. http://www.fomrhi.org/uploads/bulletins/Fomrhi-090.pdf
  • Bowman, Peter. 1994. “Fingerings and Finger Movements.” Recorder and Music Magazine 14 (3): 81–84.
  • Bowman, Peter. 1994. “Body and Hand Positions When Playing the Recorder.” Recorder Magazine 14 (2): 43–45.
  • Bowman, Peter. 1995. “The Use of Non-Standard or Alternative Fingerings.” Recorder Magazine 15 (3): 84–85.
  • Bowman, Peter. 1999. “The quarter-tone recorder manual: Ein Vortrag [The Quarter-tone Recorder Manual: A Lecture].” SAJM Zeitschrift 27 (4): 24–31.
  • Bowman, Peter. 2006. “A Question of: High F-Sharp.” Recorder Magazine 26 (4): 120–21
  • Bowman, Peter. 2017. “What’s the Point of Alternative Fingerings?” Recorder  Magazine 37 (1): 12–14.
  • Brown, Adrian. 1989. The Recorder: A Basic Workshop Manual. 2nd ed. Brighton: Dolce DOL 112.
  • Cardano, Girolamo [Geronimo]. 1973. Writings on Music. Edited and translated by Clement A. Miller. Musicological Studies & Documents 32. Rome: American Institute of Musicology.
  • Cardano, Girolamo [Geronimo]. 1663. Hieronymi Cardani mediolensis opera omnia: Philosophi ac Medici Celeberrimi opera omnia: tam hectenus excusa; hic tamen aucta et emendata; quam nunquam alias visa, ac primum ex Auctoris ipsius Autographis eruta. Edited by Carolus Sponius. Vol. 10. Lyon: Jean Antoine Huguetan and Marc Antione Ravaud. http://filolinux.dipafilo.unimi.it/cardano/testi/operaomnia/vol_10_s_6.pdf
  • Cardano, Girolamo [Geronimo]. 1546. “De musica [On music].” Rome. Ms 5850. Vatican. http://filolinux.dipafilo.unimi.it/cardano/testi/opera.html
  • Carse, Adam. 1940. “Fingering the Recorder.” Music Review 1 (2): 86–104.
  • Charlton, Andrew. 1981. The Charlton Method for the Recorder: A Manual for the Advanced Recorder Player. Columbia: University of Missouri Press.
  • Clark, Paul. 1991. “Eurobore.” Recorder Magazine 11 (4): 115–17.
  • Clark, Paul. 1979. “Digitalism.” Recorder & Music 6 (7): 197–98.
  • Clark, Paul. 1973. “Goldenfingers—1: A Guide to Recorder Technique.” Recorder & Music 4 (7): 234–36.
  • Clark, Paul. 1984. “Inflectious Cases.” Recorder and Music Magazine 8 (1): 17–18.
  • Davenport, LaNue, and Erich Katz. 1964. “Controversy: I. Alternate Fingerings.” American Recorder 5 (4): 11–13.
  • Davis, Alan. 1996. “Playing Baroque Recorders with Original Fingering.” Recorder Magazine 12 (2): 50.
  • Davis, Alan. 1974. “Fingering the Recorder.” Recorder and Music 4 (12): 439–40.
  • Dolmetsch, Carl F. 1986. “High F Sharp.” Recorder and Music Magazine 8 (9): 275.
  • Everard, Pater Ferdinand von. 1770. “Principes pour la flute. P.F.E. 1770.” Stift Melk, Lower Austria.
  • Fischer, Johannes. 1996. “Grifftechnik und Klangtransformation: Ein Diskussionsbeitrag zur Reformation der Grifftechnik im Blockflötenspiel [Fingering Technique and Sound Transformation: A Discussion Lecture on the Reform of Fingering Technique in Recorder Playing].” In Internationales Blockflöten Symposium Kassel, ERTA Kongress 6–9. Juni 1996, Vorträge und Dokumentation. Kassel: ERTA – European Recorder Teachers’ Assocciation.
  • Fischer, Johannes. 1990. Die dynamische Blockflöte [The dynamic recorder]. Celle: Edition Moeck 4048.
  • Fröhlich, Susanne. 2019. “The New Potential of a 21st Century Recorder.” Dissertation, Graz: Universität für Musik und darstellende Kunst. https://www.dropbox.com/s/a06kz2py7r8hmbk/Susanne%20Froehlich_Dissertation_The%20new%20potential%20of%20a%2021st%20century%20recorder.pdf?dl=0.
  • Ganassi, Silvestro. 1535. Opera intitulata Fontegara. La quale i[n]segna a sonare de flauto cho[n] tutta l’arte opportuna a esso i[n]strumento massime il diminuire il quale sarà utile ad ogni i[n]strumento di fiato et chorde: et a[n]chora a chi si dileta di canto. [Work entitled “Fontegara”, which Instructs in Playing the Recorder with all the Proper Art of this Instrument, Especially the Creation of Diminutions that will be Useful for all Wind and String Instruments as well as those who Practice Singing]. Venice: Silvestro Ganassi. http://imslp.org/wiki/Opera_Intitulata_Fontegara_(Ganassi,_Sylvestro)
  • ———. (1535) 1956. La Fontegara: Schule des kunstvollen Flötenspiels und Lehrbuch des Diminuierens, Venedig, 1535. Edited by Hildemarie Peter. Translated by Emilia Dahnk-Baroffio. Berlin-Lichterfelde: Robert Lienau.
  • ———. (1535) 1959. Opera Intitulata Fontegara, Venice 1535. A Treatise on the Art of Playing the Recorder and of Free Ornamentation. Edited by Hildemarie Peter. Translated by Dorothy Swainson. Berlin-Lichterfelde: Robert Lienau.
  • ———. (1535) 2000. “Tècnica d’articulació segons La Fontegara de Silvestro Ganassi  (Venècia 1535).” Translated by Joan Vives. http://perso.wanadoo.es/arcelimerino04/fontegar.htm.
  • ———. (1535) 2002. Sylvestro Ganassi: Oeuvres complètes, volume 1, La Fontegara (1535). Edited by Christine Vossart. Translated by Jean-Philippe Navarre. Sprimont: Pierre Mardarga.
  • Halfpenny, Eric. 1964. “Fingering.” American Recorder 5 (4): 22.
  • Hall, Blaise. 2011. Silent Practice, a New Approach to Finger Technique on the Recorder. Book 1. Triple Time. Book 2. Note Variations. 2 vols. Blaise Hall, Treglog  Farm, Llansawel, Llandeilo, Carms, SA19 7NJ, United Kingdom.
  • Hanning, Ilona. 1998. “Die dritte Octave der Altblockflöte altes Neuland [The third octave of the alto recorder: old new territory].” Windkanal, no. 3: 6–9. http://www.windkanal.de/images/stories/PDF/1998-3/1998-3.pdf
  • Hauwe, Walter van. 1984–1992. The Modern Recorder Player. 3 vols. London: Schott Edition 12150, 12270, 12361.
  • Hedeboe, Julie P. 2001. “Über den Daumen gepeilt … Beobachtungen zu Michala Petris Daumentechnik [Get your bearings on the thumb … observations on Michala Petri’s thumb technique].” Windkanal, no. 2: 20–21. http://www.windkanal.de/images/stories/PDF/2001-2/2001-2.pdf
  • Heyens, Gudrun. 2005. Advanced Recorder Technique – the Art of Playing the Recorder. Translated by Peter Bowman. Vol. 1: Finger and tongue technique. 2: Breathing and sound. London: Schott Music.
  • Higbee, Dale. 1962. “Third-Octave Fingerings in 18th-Century Recorder Charts.” Galpin Society Journal 15: 97–99.
  • Höffer-von Winterfeld, Linde. 1976. “Griffkombinationen und Klangfarben auf der Blockflöte” [Fingering combinations and tone color on the recorder].” Tibia 1 (2): 77–80. http://www.moeck.com/uploads/tx_moecktables/1976-2.pdf
  • Hotteterre, Jacques. 1968. Principles of the Flute, Recorder & Oboe, Paris 1707. Edited and translated by David Lasocki. London: Barrie & Rockcliff / Cresset Press.
  • Hotteterre, Jacques. 1707. Principes de la flûte traversière, ou flûte d’Allemagne, de la flûte à bec, ou flûte douce, et du haut-bois diviséz par traitéz [Principles of the Flute, Recorder, and Oboe, Divided into Treatises]. Paris: Christophe Ballard. http://imslp.org/wiki/Principes_de_la_flute_traversiere,_de_la_Flute_a_Bec,_et_du_Haut-bois,_Op.1_(Hotteterre,_Jacques
  • Hunt, Edgar H. 1986. “Thoughts on Hoteterre’s Recorder Fingerings.” American Recorder 27 (4): 151.
  • Hunt, Edgar H. 1965. “What’s Wrong with My Recorder: English or German Fingering.” Recorder and Music Magazine 1 (8): 247.
  • Hunt, Edgar H. 1965. “What’s Wrong with My Recorder: A New ‘fingering’ from France.” Recorder and Music Magazine 1 (9): 278.
  • Hunt, Edgar H. 2002. The Recorder and Its Music. Revised and enlarged. Hebden Bridge: Peacock Press.
  • Hureau, Richard A. 2011. “Recorder Trills, Turned Trills, and Turns.” Recorder Trills, Turned Trills, and Turns. http://www.rahsoft.net/index.htm
  • Huyghens, Christiaan. 1686. “Tons de ma flute [Notes on my Recorder].” Universiteitsbibliotheek Leiden. 1, p. 231. Codex Hugenianus.
  • Jambe de Fer, Philbert. 1556. Epitome Musical Des Tons, Sons et Accordz, Es Voix Humaines, Fleustes d’Alleman, Fleustes À Neuf Trous, Violes, & Violons. Lyons: Michel du Bois. http://gallica.bnf.fr/ark:/12148/btv1b55007136d.
  • ———. (1556) 1964. “L’Epitome musical de Philibert Jambe de Fer (1556). Annales musicologiques 6: 341-346 (1963). Includes an introductory essay by François Lesure.” Edited by François Lesure. Annales musicologiques 6: 341–46.
  • Juritz, John W.F. 1960. “Recorder Fingerings.” Galpin Society Journal 13: 91–92.
  • Kottick, Edward L. 1975. Tone and Intonation on the Recorder. New York: McGinnis & Marx.
  • Lander, Nicholas S. 1996–2016. “Fingering the Recorder.” Recorder Home Page. https://www.recorderhomepage.net/technique/fingering/
  • Lasocki, David R.G. 1970. “17th and 18th Century Fingering Charts for the Recorder.” American Recorder 11 (4): 128–37.
  • Lasocki, David R.G. 1968. “A Spanish Recorder Tutor.” American Recorder 9 (2): 49–50.
  • Linde, Hans-Martin. 1984. Handbuch des Blockflötenspiels [The recorder player’s handbook]. 2nd ed. Mainz, New York: Schott.
  • Linde, Hans-Martin. 1991. The Recorder Player’s Handbook. 2nd ed. London: Schott ED12322.
  • Loretto, Alec V. 1997. “Letter: Bell Key Fingering.” Recorder Magazine 17 (1): 32.
  • Loretto, Alec V. 1998. “Communication 1585: Recorder Fingerings in Print.” FoMRHI Quarterly 82: 21. http://www.fomrhi.org/uploads/bulletins/Fomrhi-092.pdf
  • Loretto, Alec V. 1998. “Communication 1556: Recorder Fingerings.” FoMRHI Quarterly 90: 30. http://www.fomrhi.org/uploads/bulletins/Fomrhi-090.pdf
  • Loretto, Alec V. 2004. “Recorder Fingerings by Email.” Recorder Magazine 24 (2): 55.
  • Majer, Joseph F.B.C. 1732. Museum musicum theoretico practicum, das ist, Neuroeffneter theoretisch-und practischer Music-Saal … [Thoretical and practical musical museum; that is, Newly disclosed theoretical and practical music room]. 1st ed. Nuremberg: George Michael Majer.
  • ———. 1741. Museum musicum theoretico practicum, das ist, Neuroeffneter theoretisch-und practischer Music-Saal … [Thoretical and practical musical museum; that is, Newly disclosed theoretical and practical music room]. 2nd ed. Nuremberg: Johann Jacob Cremer.
  • ———. (1732) 1954. Museum musicum theoretico practicum, das ist, Neuroeffneter theoretisch-und practischer Music-Saal …. Edited by Heinz Becker. Kassel: Bärenreiter. Facsimile of second edition.
  • ———. (1741) 1977. Joseph Friedrich Bernhard Caspar Majers Neu-eröffneter Theoretisch- und Praktischer Music-Saal (Nuremberg, 1741). Edited by Eitelfriedrich Thom. Blankenburg/Michaelstein: Kulture- und Forschungstätte Michaelstein. Facsimile of second edition.
  • Manning, Ilona. 1998. “Die dritte Oktave der Altblockflöte—altes Neuland [The Third Octave of the Alto Recorder: Old New Territory].” Windkanal, no. 3: 6–9.
  • Massy, James. 1982. “The Taped Recorder, Or, ‘How Low Can You Get.’” Recorder & Music 7 (6): 142.
  • Mersenne, Marin. (1637) 1988. “Die Blasinstrumente aus der ’Harmonie Universelle‘ des Marin Mersenne und ihre Bedeutung für die Aufführungspraxis heute [The wind instruments from Marin Mersenne’s “Harmonie Universelle” and their significance for performance practice today].’” Translated by Wolfgang Köhler. Tibia 13 (1): 1–14. http://www.moeck.com/uploads/tx_moecktables/1988-1.pdf
  • –––. (1637) 1987. Die Blasinstrumente aus der “Harmonie Universelle” des Marin Mersenne: Übersetzung und Kommentar des “Livre cinquiesme des instruments a vent” aus dem “Traité des instruments” [The Wind instruments from Marin Mersenne’s “Harmonie Universelle”:  Translation of and Commentary on the “Livre cinquiesme des instrumens à vent” from the “Traité des instruments”]. Translated by Köhler. Celle: Edition Moeck Nr. 4038.
  • –––. (1637) 1963. Harmonie universelle, condenant la théorie et la pratique de la musique. Édition facsimilé de l’exemplaire conservé à Bibliothèque des arts et métiers et annoté par l’auteur. Edited by François Lesure. 3 vols. Centre National de la Rechereche Scientifique.
  • –––. (1637) 1957. Harmonie universelle: The Books on Instruments. Translated by Roger E. Chapman. The Hague: Martinus Nijhoff.
  • –––. 1637. Seconde partie de l’harmonie universelle … [Second Part of ‘Universal Harmony’ …]. Paris: Pierre Ballard. http://imslp.org/wiki/Harmonie_universelle_(Mersenne,_Marin)
  • Minguet y Yrol, Pablo. 1754. Reglas, y advertencias generales que enseñan el modo de tañer todos los instrumentos mejores, ye mas usuales … [Rules and general advice that teachers the method of playing all the best and most common instruments.] Part VI. Reglas, y advertencias generales para tañer la flauta traversera, la flauto dulce, y la flautilla, con varios tañidas, demonstradas, y figuradas en diferentes laminas finas, por musica, y cifra, para que qualquier aficionado las pueda comprehender con mucha facilidas, y sin maestro … [Rules and general advice for playing the flute, recorder, and pipe, with various descriptions, fingering charts, and fine illustrations, for music and its notation, so that any amateur can understand it easily and without a teacher]. Madrid: Joachim Ibarra.
  • –––. (1754) 1982. Reglas, y advertencias generales que enseñan el modo de tañer todos los instrumentos mejores …. Geneva: Minkoff Reprint.
  • Newman, Joel. 1962. “The Recorder in Majer’s Museum Musicum 1732.” Translated by Joel Newman. American Recorder 3 (1): 6–8. http://www.americanrecorder.org/docs/AR_Mag_February_1962_Multipage.pdf
  • Newman, Joel (as Flauto Piccolo). 1963. “Stützfingering Un-Butressed.” American Recorder 4 (2): 14–15.
  • Nozaki, Koske. 2016. “A Practical Exploration of the Historical Fingerings of Baroque Recorders in England, France and Germany.” The Hague: University of the Arts The Hague ­ Royal Conservatoire. https://media.researchcatalogue.net/rclive/master/32_260577_01457950162_00001.pdf
  • O’Kelly, Eve. 1990. The Recorder Today. Cambridge: Cambridge University Press.
  • Olofsen, Arnoldus. 1767. Al de toonen van de fluyt abec volgens den nieuwen trant [All the Notes of the Recorder According to the New Manner].
  • Orr, Hugh. 1961. Basic Recorder Technique. 2 vols. Toronto: B.M.I./Berandol.
  • Parrilla, Vicente. 2015. “Fred Morgan’s Fingering Charts for ‘Ganassi’ Type Recorders.” Accessed September 5. http://vicenteparrilla.com/fred-morgans-fingering-charts-for-ganassi-type-recorders/
  • Peeters, Vanessa. 1999. “De blokfluit in Frankrijk in de 17de eeuw: Haar gebruik in het werk van Jean-Baptiste Lully (1632–1687)” [The Recorder in France in the Seventeenth Century: Its Use in the Works of Jean-Baptiste Lully (1632–1687)].” Musica antiqua 16 (3): 129–39.
  • Peter, Hildemarie. 1958. The Recorder, Its Traditions and Its Tasks. Translated by Stanley Godman. Berlin-Lichterfelde: Robert Lienau.
  • Peter, Hildemarie. 1953. Die Blockflöte und ihre Spielweise in Vergangenheit und Gegenwart [The Recorder and its Style of Playing in the Past and Today]. Berlin-Lichterfelde: Robert Lienau.
  • Reichenthal, Eugene. 1976. “Partial Venting.” Recorder and Music Magazine 5 (6): 193–95.
  • Reichenthal, Eugene. 1991. “Effective Use of Exceptional Fingering.” American Recorder 32 (4): 16–17.
  • Reiss, Scott. 1987. “Pitch Control: Shading and Leaking.” American Recorder 28 (4): 136–39.
  • Reynvaan, Joos V. 1795. Muzijkaal kunst-woordenboek … [Dictionary of the Art of Music]. Amsterdam: Wouter Braue.
  • Robinson, Andrew. 1997. “Quiet High Notes: An Extraordinary Discovery.” Recorder Magazine 17 (4): 139.
  • Rockstro, Richard S. 1967. Treatise on the Construction, the History and the Practice of the Flute, Including a Sketch of the Elements of Acoustics and Critical Notes of Sixty Celebrated Flute-Players. 2nd ed. London: Musica Rara.
  • Rose, Pete. 1996. “In Living Color: How to Use Alternate Fingerings to Produce Timbre and Dynamic Effects in a Musical Way.” American Recorder 37 (2): 12–15.
  • Rowland-Jones, Anthony. 1995. “A Short History of Partial Venting.” Recorder Magazine 15 (2): 48–50.
  • Rowland-Jones, Anthony. 2004. Introduction to the Recorder: A Tutor for Adult Beginners. 2nd ed. Hebden Bridge: Ruxbury Publications.
  • Rowland-Jones, Anthony. 2003. A Practice Book for the Treble Recorder. 2nd ed. Hebden Bridge: Ruxbury Publications.
  • Rowland-Jones, Anthony. 2003. Recorder Technique, Intermediate to Advanced. 3rd ed. Hebden Bridge: Ruxbury Publications.
  • Swaine, N. 1818. The Young Musician, or the Science of Music, Familiarly Explained; with a Glosary of Musical Terms, and Phrases. Sttourport: G. Nicholson.
  • Tarasov, Nik. 2015. “A Surprising Discovery.” Windkanal, no. 3.
  • Thieme, Ulrich. 1996. “Fingerzeige aus dem Kloster [Fingerings from the Cloister].” Tibia 21 (3): 208. http://www.moeck.com/uploads/tx_moecktables/1996-3.pdf
  • Thomas, Denis. 1999. “Harmonics and Fingering.” Recorder Magazine 19 (2): 48–50.
  • Tucker, Tui St George. 2015. “‘Alto Recorder Fingering Chart Showing Quarter Tones.” Accessed October 1. http://tuistgeorgetucker.com/scores/alto%20recorder.pdf
  • Van Gele, Geert. 2019. Thoughts on the Recorder. Borgerhout: InterCulturate. http://www.kattenbergrecordings.be/geertvangele/Thoughts.html.
  • Vetter, Michael. 1969. Il flauto dolce ed acerbo [The Sweet and Bitter Flute]. Celle: Edition Moeck 4009.
  • Virdung, Sebastian. 1511. Musica getutscht und aussgezogen durch Sebastianum Virdung Priesters von Amberg und alles Gesang auss den Noten in die Tabulaturen diser benanten dryer Instrumenten der Orgeln: der Lauten: und den Flöten transferieren zu lernen Kurtzlich gemacht zu eren dem hochwirdigen hoch gebornen Fürsten und Herren: Herr Wilhalmen Bischove zum Straszburg seynem gnedigen Herren [Music translated into German and excerpted by Sebastian Virdung, priest of Amberg and everything there is to know about transcribing songs from notes into the tablatures of these three given instruments: the organ, the lute, and the recorder — made simple. In honor of his gracious lord, the most reverend, high-born prince and lord, Wilhelm, Bishop of Strassburg]. Basel & Strasburg. https://daten.digitale-sammlungen.de/~db/0001/bsb00011703/images/index.html
  • ———. (1511) 1529. Livre plaisant et tres utile pour apprendre a faire & ordonner toutes tabulatures hors le discant, dont & par lesquelles lon peult facilement et legierement aprendre a jouer sur les Manicordion, Luc, et Flutes Entertaining and Very Useful Book to Learn to Have at your Command all Tablatures Except the Discant, by Means of Which one can Easily and Swiftly Learn to Play on the Organ, Lute, and Recorder]. Translated by Guillaume Vorsterman. Antwerp: Vorsterman.
  • ———. (1511) 1568. Dit is een zeer schoon Boecxken, om te leeren maken alderhande tabulatueren wten Discante. Daer duer men lichtelijck mach leeren spelen opt Clavecordium luyte ende Fluyte. [This is a nice little book for learning all kinds of tablatures except the discant, by means of which one can easily learn to play the organ, lute and recorder]. Amsterdam: Jan van Ghelen.
  • ———. (1511) 1931. Virdung, S. Musica getutscht, Basel 1511. Edited by W.N. von Klaus. Kassel: Bärenreiter Verlag.
  • ———. (1511) 1965. “Sebastian Virdung: Musica Getutscht Und Aussgezogen (Basel 1511).” Translated by Laurence Wright. Recorder and Music Magazine 1 (10): 301–3.
  • ———. (1511) 1966. Musica getutscht, 1511. Publikation aelterer praktischer und theoretischer Musik-Werke 11. New York: Broude Brothers.
  • ———. (1511) 1970. Musica getutscht. Documenta musicologica. 1. Reihe, Druckschriften-Faksimiles 31. Kassel, Basel: Bärenreiter.
  • ———. (1511) 1979. “Sebastian Virdung’s Method for Recorders of 1511: A Translation with Commentary.” Translated by William E. Hettrick. American Recorder 20 (3): 99–105.
  • ———. (1511) 1980. Sebastian Virdung, Musica getutscht: les instruments et la pratique musicale en Allemagne au début du XVIe siècle. Edited and translated by Christian Meyer. Paris: Éditions du Centre national de la recherche scientifique.
  • ———. (1511) 1993. Musica Getutscht: A Treatise on Musical Instruments (1511) by Sebastian Virdung. Edited and translated by Beth A. Bullard. Cambridge Musical Texts and Monographs. Cambridge: Cambridge University Press.
  • Virgiliano, Aurelio. c .1600. “Il dolcimelo d’Aurelio Virgiliano dove si contengono variati passaggi, e diminutioni cosi per voci, come per tutte sorte d’instrumenti musicale; con loro accordi, e modi di sonare [Aurelio Virgiliano’s Il dolcimelo, in which are found passaggi and diminutions either for voices or for all kinds of musical instruments; with their charts and methods of playing].” Bologna. Ms. C. 33. Civico Museo Bibliografico Musicale.
  • ———. (c. 1600) 1979. Il dolcimelo. Edited by Marcello Castellani. Archivum musicum., Collana di testi rara 11. Florence: Studio per edizioni scelte (SPES).
  • Waitzman, Daniel. 1978. The Art of Playing the Recorder. New York: AMS Press.
  • Walsh, E. Geoffrey, R. Ashford, and P. Johnson. 1999. “Timing of Finger Movements in Musicians. Meeting Organised by the Edinburgh University Collection of Historic Musical Instruments with the Galpin Society, 9-11 July 1999. Abstracts of Papers.” http://www.euchmi.ed.ac.uk/gxjta.html
  • Weisber, Arthur. 1975. The Art of Wind Playing. New York: Macmillan.
  • Wollitz, Ken. 1982. The Recorder Book. New York: Alfred A. Knopf.
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Cite this article as: Lander, Nicholas S. 1996–2022. Recorder Home Page: Technique: Fingering: Bibliography. Last accessed 7 August 2022. https://www.recorderhomepage.net/technique/fingering/bibliography/