The Instrument Within takes an in-depth look at the fivefold bedrock of wind playing (posture, breathing, embouchure, articulation, and movement) through the unique lens of a multi-instrumentalist.

Resonance and Sound Production reveals the secret that transforms good wind players into great ones: your body is not just supporting your instrument, it is the instrument.

This guide demystifies the art of resonance, showing you how to consciously create richer, more projecting, and colourful sound. Drawing on voice science research and acoustic principles, it explains what's happening inside your body when you play.

Why should the tongue exercise such authority over the loftiest notes of the instrument? Why should a chill in the air conspire against the altissimo? And why do forked fingerings function at all?

This method proceeds from first principles: standing waves, boundary conditions, and the collusion between the vocal tract and the air column.

There is a moment every musician knows: your fingers are poised over the instrument, the chord progression plays beneath you, and someone says: improvise! 

In that instant, all those hours of scales and arpeggios, all that technical mastery, seems to evaporate like morning mist. The gap between what you can play and what you can create yawns before you, vast and terrifying.

This method is about closing that gap.

Stick to Your Drum

A method for the tabor, containing:

•  Percussion warm ups and a collection of patterns for the drum;

• Exercises and integration through repertoire

Built on one premise: the pipe isn't the star. The tabor is.

Through deliberate rhythmic challenge beyond what performance demands, you'll train genuine independence between drum and pipe. Cognitive strength training that makes your tabor hand develop a mind of its own.

Telemann: Twelve Fantasias for Solo Flute

This volume offers the modern player a complete guide to these deceptively demanding works, from the historical and physical world of the Baroque flute to the theoretical traditions of Figurenlehre. Here the twelve Fantasias are examined as both individual pieces and a carefully conceived cycle: twelve keys, twelve characters, twelve distinct emotional worlds.

Drawing on Baroque theories of affect, dance, ornamentation, and rhetoric, this guide illuminates not just what Telemann wrote, but what he meant, and how a performer might make those meanings audible. 

FLUTES OF THE MIDDLE AGES

The transverse flute showed up from India via Byzantium and promptly got nicknamed the 'German flute'. The gemshorn had its entire moment, peaked around 1488. The recorder's ancestors were lurking around courts and banquets. And the more you dig, the stranger it gets...

The Sound of one hand piping

This ingenious contraption exploded across Europe in the mid-thirteenth century. One moment it barely existed; the next, manuscripts from England to Spain were depicting the same curious instrument combination.

Every region claimed it with a different name: the galoubet in sun-drenched Provence, the Schwegel in German-speaking lands, the txistu in the Basque hills. But the appeal was universal. Need music for a Burgundian tournament? Pipe and tabor. Street festival in a Spanish town square? Pipe and tabor. Shakespeare's Globe Theatre needed atmospheric sound effects? You guessed it.

Drumroll, Please… No One’s Listening

Medieval Europe was absolutely littered with drums. Manuscripts stuffed with tabors, nakers, bells, the whole percussive circus.

Angels banging frame drums, devils keeping rhythm, minstrels everywhere making a glorious racket. Then you open the actual scholarship and... they've all buggered off to the pub.

A Pipe out of place

The frestel, medieval Europe’s answer to the panpipe, held the iconographic high ground for a good three centuries before vanishing around 1300.

Fashioned from boxwood, with neatly convex ends and a monoxyle construction, this single-handed marvel found itself equally at home on cathedral portals and skulking in the margins of manuscripts.

The frestel quietly lost its place. What remains is a single archaeological specimen and a handful of stone and painted representations, collectively staring back at us.

Viola d'Amore

Some insomniac Baroque courtier grafted sympathetic strings onto a viol, carved a leering Cupid on the scroll, and called it the viola of love.

What followed? This baby went rogue.

It spawned a whole dynasty of sound, and a dozen offspring from Istanbul to Oslo. It survived its own extinction and utterly confounded (almost) every scholar who tried to pin down where it came from.

A User's Guide to Medieval Shapeshifting

These musical monstrosities lurked in the great cosmic antechamber: the waiting room between a pagan past and the Christian future still shifting its sacks and sorting its saints.

They embodied everything medieval society claimed to fear: wildness, mutability, things with too many limbs... and everything it secretly adored.

Because deep down, everyone enjoys a dragon with a trumpet.

The Division Flute

Born in the awkward aftermath of Puritan joylessness and continental envy, The Division Flute documents England’s rediscovery of fun via increasingly elaborate flute noises.

TWV 42:D15