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The Recorder From Zero, Vol 2 is a systematic approach for intermediate players on the soprano recorder which takes up where volume 1 leaves off. This revised and expanded 2nd edition contains 113 pieces of original, folk, renaissance, and medieval music as well as continuing the introduction to renaissance tonguing and the modes. Volume two covers additional fingerings, playing without bar lines and using more advanced rhythms - including  a dozen exercises for various forms of syncopation, modal cadences , hemiolas,  and tuning using difference tones. Take a look at lessons 21-26, which you can print out for free and try with your student/s  (if you are a teacher) or with your teacher (if you are a student) or with your partner if you are an experienced player already - it’s all great music!

From reviews of the 2nd edition, vol. 2 (2002):

Volume II is pricier than Volume I, but there is more music in it.. The remarkable aspect of this book is its use of original, Medieval and Renaissance music... I am pleased to see that Mr. Fischer has put the ear-training exercises at the beginning of this volume... There are many pedagogical aids, such as an explanation of "shifting syncopations," often confused with hemiola. The explanation of hemiola is excellent... I like the tuning exercises and explanation and practice of modal cadences. I like the attention to Renaissance recorders and modes. I like beginning to play without bar lines in Lesson 26. In fact, I like just about everything about this book...Everyone who plays the soprano recorder, teachers and students, should own both volumes of "The Recorder From Zero". I look forward to the edition for alto.

                                                             Martha Bixler in The American Recorder,  January, 2003

Just as good as Vol 1., November 9, 2003 - Reviewer: "b__2" (Albuquerque, NM USA)
I have both books - my daughter is the student. The wealth of excellent exercises and non-boring duet material made volume 2 a no-brainer for us. As as said in my volume 1 review: these are the best method books I own!

Inspirational Tutelage, October 19, 2003 - Reviewer:
Drina Brooke (San Raphael, CA USA)
As in volume 1, Charles Fischer has compiled beautiful music selected not only for inspirational content, but for step-by-step challenges designed for technical growth. This is one of those books which will inspire as the player learns! As important eartraining for players of Early Music, Greek modes (ancient "scales" passed down via the Medieval church) are introduced, and how to construct them intervallically. Ensuing pieces are identified by mode, to further assist eartraining. Unmeasured duets provide the framework for each player to practice rhythmic independence, and to really feel the flow of phrases. Other duets are measured, and all of them artistically deep. Literature varies from haunting Troubadour melodies to Renaissance Christmas carols (selections that are refreshingly new to America, while known in Germany and other parts of Europe; arranged by Charles Fischer for two recorders), to the plaintively beautiful rounds of Henry Purcell, to the snakily percussive Tourdion and Rotta, to many other wonderful pieces! A wide selection of solos and duets gives opportunity a-plenty for solo or ensemble playing. Only a performer of the recorder, such as Charles Fischer, could come up with this unique and gorgeous selection of music ! --Drina Brooke, author, recorder instructor/performer

Recorder From Zero is Great Fun, June 26, 2002 - Reviewer:
"jblazar" (Sunnyvale, CA USA)
The author has over ten years experience teaching recorder to students of all ages. I read through all the exercises in this book with another player. The upper line is meant to be played by the student, with the lower line played by the teacher or a more advanced player. The book consists of graded units of increasing difficulty. The exercises use actual Medieval and Renaissance music, as well as English country dances and folk music, with a few original pieces written by Mr. Fischer.  So often, exercises used in method books are repetitive and boring, making them a chore to work through. The music chosen in this book is quite appealing, with a lot of variety. I think this method book would work well for players of all ages, since the music is fun to play, and is carefully chosen to demonstrate a particular point, such as modes, rhythms, syncopation, combination tones, etc.  Mr. Fischer is to be commended for producing a refreshing method book, with an easily readable format and a well-chosen variety of music that demonstrates valuable lessons for the student.

Alto Recorder From Zero is a systematic approach for beginners and intermediates on the alto recorder which treats the instrument in its proper historical context.  This edition contains 120 pieces of carefully graded original, folk, renaissance, and medieval music as well as an introduction to renaissance tonguing and a brief introduction to modal theory. Although AFZ is intended to be used with a teacher, who guides the student and plays the bottom part of the duets, the mature student who has had some previous musical training can also use this method for self-study.

NOTE: Lessons 1-10 for Alto Recorder are now available online.  You can print them out for free and try them with your student/s  (if you are a teacher) or with your teacher (if you are a student) or with your partner if you are an experienced player already - it’s all great music. The remaining 20 lessons are now ready for online ordering as Part II for lower intermediates (Lessons 11-22) and Part III for intermediates (Lessons 23-30). 

Alto Recorder From Zero is Truly Impressive,  March 17, 2005 - Personal communication from Jim Carpenter I should take a moment to tell you what a pleasure it is to work with the lessons. I'm on lesson 6 or 7 downloaded from the Internet, and I am truly impressed at how musical the selections are. As I work my way thru each one I can sense immediately what the pieces ought to sound like, and the very measured pace at which new notes are added is wonderful. When I start a new piece I find I can play 90 percent immediately--it's only the other 10 percent that needs to be worked on.  By the time I've satisfactorily "mastered" the new piece I can move to the next one, finding that I can play 90 percent of it....etc.  I'm working without a teacher, but with other beginning recorder methods to help me with fingerings, etc...Any reasonably self-motivated learner can make wonderful use of the lessons. Thank you for this excellent course. 

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The Recorder From Zero, Vol. 2 (2nd edition, 2002 - 40 pp.)  $23.95 plus $2.00 shipping in US
OR GET BOTH volumes for a special combined price:

The Recorder From Zero, Vols 1 and 2  $40.00 with FREE shipping in US

LessonPiece # TitleComposer YearNew Notes Pedagogy
21a 108Gavotte Praetorius1612  REVIEW LESSONS 1-20
 109 AlmandePhalese 1571   
  110Bransle Double Praetorius1612   
 111 Benedicamus DominoSpanish Motet 13th c.  Dorian mode
21b 112Benedicamus Domino Spanish Motet13th c.  Dorian mode
 113 Quant Ay Lo Mon ConsiratTroubadour Song12th c.  Dorian mode
 114 Robert, Veez de PerronThibault, Roi de Navarr3ec. 1260  Aeolian Mode
 115 Lullaby from the Isle of ManEnglish 18th c.  Aeolian mode
 116 Shule AgraIrish 18th c.  Aeolian mode
22 117Nonesuch Playford1650  Aeolian mode
 118 Swedish Folk SongSwedish 18th c.  Aeolian mode
 119 Heigh-Ho! Nobody at HomePammelia 1609  Aeolian mode
 120 The Fine CompanionPlayford 1651  Aeolian mode
 121 BransleE. du Tertre 1557  Aeolian mode, ABACABAD
23a 122He! Robins & Bergeronette French13th c.  Lydian Mode
 123 Robins M'aimeAdam de la Halle c. 1280  Lydian mode
  124Wir Suln den Kochen Raten Walter von der Vogelweidec. 1200  Lydian mode
 125 DansaGuirant D'Espanha de Tolosa 13th c.  Lydian mode
  126Mara Villom'eu Alphonso X, El Sabioc. 1250  Transposed Ionian Mode
 127 A VirgenAlphonso X, El Sabio 18th c.  Mixed Lydian/Ionian mode
 128 Round for 2 or 3Anon 18th c.  Transposed Ionian mode
23b 129Edi Beo Thu English13th c.  Transposed Ionian mode
 130 Danse du RoySusato 1551  Transposed Ionian mode
 131 RondeSusato 1551  Transposed Ionian mode
24 132Argeers Playford1651  Transposed Ionian mode
 133 Lamento di Tristan / La Rotta Italian14th c.  Dorian mode, 16th notes in 2/2
 134 Glen LyonScottish Reel 18th c.  Dorian mode
  135Une Chancon Encore Vueil Thibault, Roi de Navarrec. 1240  triplets in 1/2
 136 Ed Muitas GuisasAlphonso X, El Sabioc. 1250  16th notes and triplets in 2/2
25 137Chanterai Por Mon Courage Guiot de Dijon1189  Mixolydian Mode
 138 Congaudet HodieFrench c. 1200  Mixolydian mode
 139 Vide Perdite Me LegiFrench c. 1200  Mixolydian mode
26a 140Syncopation Exercise 1 CPF1975  Syncopation
 141 Syncopation Exercise 2CPF 1975   
  142Viva La Musica Praetorius1610  Playing without barlines
 143 Syncopation Exercise 3CPF 1975  Two syncopations in a row
 144 Singet Dem HerrenPraetorius 1610  Dotted syncopation
 145 Aus Tiefer NotMartin Agricola c. 1530  Phrygian mode
 146 Vom HimmelhochKaspar Othmayr 1547  Ionian mode
26b 147Haussegen Gumpelzheimerc. 1600  Transposed Ionian mode
 148 Der Grimmig TodGumpelzheimer c. 1600  Dorian mode
  149Nun Komm Der Heiden Heiland Kaspar Othmayr1547  Transposed Dorian/Aeolian mode
27a150 ExerciseCPF 1975  Modal cadences - melody
 151 """  Modal cadences - two parts
27b152 Syncopation Exercise 4" "  double syncopation,
 
 153 Il Estoit une FilletteSusato 1551  musica ficta
 154 BransleGervaise 1555  Mixolydian mode
27c155 Round for Ionian IntervalsCPF 1975  Ionian mode
  156Pavane Attaignant1547  Transposed Dorian/Aeolian mode
28a157 Hemiola Exercise 1CPF 2002  Hemiola
  158Hemiola Exercise 2 ""   
  159Bransle Courant Franco Caroubel1612   
 160 Bransle GayGervaise 1550   
28b 161Pavane Gervaise1550   
 162 GalliardGervaise 1550  dotted half = whole (tactus)
 163 PavaneGervaise 1550   
  164Galliard Gervaise1550  dotted half = whole (tactus)
29a165 Flamme EmporPraetorius 1574   
  166Ach Elslein German15th c.  False Hemiola
 167 VoltePraetorius 1612  12/2 and 12/4
 168 Bransle GayModerne 1546   
  169Bransle Gay Gervaise1550   
29b170 TordionAttaignant 1530  Dorian mode
  171Bransle Gay Attaignant1547  Transposed Dorian/Aeolian mode
 172 TordionAttaignant 1547  Transposed Dorian/Aeolian mode
30a173 BiciniumKaspar Othmayr 1547  Syncopation as shifted meter
 174 La BourreePraetorius 1612   
30b 175Souvent Amour Peletier1550   
31a176 Basse DanceAttaignant 1547   
31b 177Ronde Susato1551   
 178 SaltarelleSusato 1551  dotted half = half (tactus)
 179 Bransle de PoictuGervaise 1550  Offset hemiolas, Mixolydian mode
32a180 ExerciseCPF 2002high f'  
  181" ""   
  182Ce Fut en Mai Moniot d'Arras13th c.  Transposed Ionian mode
 183 He That Will an Alehouse Keep Ravenscroft1609   
 184 St. Martin's CanonGerman 14th c.  Dorian mode
  185Bransle Simple Gervaise1555   
32b186 Verbum Bonum et SuaveFrench Motet c. 1200  16th note triplets in 6/8
33a187 Basse Dance “La Brosse”Attaignant 1530   
33b 188Bicinium Kaspar Othmayr1547  Transposed Phrygian mode
 189 BiciniumJosquin des Prez c. 1500  Extended pieces, Dorian mode
34a190 Puer Natus in BethlehemPraetorius 1610  Extended pieces (Christmas Carols)
34b191 In Dulci JubiloPraetorius 1610   
35a 192Passamezzo D’Italye Phalese1571   
 193 Pavane PassamaizeGervaise 1555  Written out divisions
 194 TordionAttaignant 1547  Division Hemiolas
35b195 Pavane LesquercadePhalese 1571  Pavane and Galliard
 196 La Rocque GalliardPhalese 1571  Pavane and Galliard (tactus)
36a197 Can She Excuse My WrongsJohn Dowland17th c.  Syncopation as metrically shifted pulse
  198Syncopation Exercise 5 CPF1975   
 199 Aus Tiefer NotKaspar Othmayr 1547  Phrygian mode
 200 Ein Fest BurgKaspar Othmayr 1547  Ionian mode
36b201 CanonJosquin des Pres c. 1500  Transposed Ionian mode
 202 New OystersT. Ravenscroft 1609   
  203Per illud Ave Prolatum Josquin des Presc. 1500  Mixolydian mode
37a204 Difference Tones ICPF 2002  Playing Pure Thirds
 205 Difference Tones II" "  Playing Pure Fifths
 206 Andray SouletMatheus de Perusio c. 1400   
  207An Old Epitaph Henry Purcell17th c.   
 208 Now That The SpringJohn Hilton 1652   
37b 209Ballet Incerti1612   
 210 O AbsalomWilliam Lawes 1652   
  211Adam Catched Eve Joseph Baildon1765   
38a212 Bransle Double de PoictuCaroubel 16th c.   
  213Nu Komm Der Heiden Heiland Praetorius1612  Advanced rhythms, Transposed Dorian mode
38b214 BenedictusGuillaume Dufay c. 1450  Dotted whole = whole (tactus)
 215 Canonic BalladeGuillaume de Machaut c. 1350   
39a 216Chanson “Ma Mignonne” Claude Le Jeunec. 1595  Extended advanced rhythms
39b217 Canzonette “Fyre and Lightning” Thomas Morely1595   
 218 Per Illud Ave ProlatumJosquin des Presc. 1500   
40219 Voici du Gai Printemps Jan Pieterszoon Sweelinck1612  Concert piece - Part I
 220 Le Dieu Mars " "  Concert piece - Part II
Telephone: (812) 339-5870
email: bizweb5@yahoo.com
Address: Charles Fischer/Unicorn Music 2324 Linden Hill Dr. Bloomington, IN 47401
SkypID: UnicornMusic

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