German fingering became popular in Europe, especially Germany, in the 1930s, but rapidly became obsolete in the 1950s as the recorder began to be treated more seriously and the limitations of German fingering became more widely appreciated.^[15] Despite this, many recorder makers continue to produce German fingered instruments today, essentially for beginner use only.^{[citation needed]}

Some newer designs of recorder are now being produced. Larger recorders built like organ pipes with square cross-sections are cheaper than the normal designs if, perhaps, not so elegant.^[16]Another area is the development of instruments with a greater dynamic range and more powerful bottom notes. These modern designs make it easier to be heard when playing concerti.^{[citation needed]} Finally, recorders with a downward extension of a semitone are becoming available; such instruments can play a full three octaves in tune. The tenor is especially popular, since its range becomes that of the modern flute; Frans Brüggen has publicly performed such flute works as Density 21.5 by Edgar Varèse on an extended tenor recorder.^{[citation needed]}

[edit]Standard pitch

Recorders are most commonly pitched at A=440 Hz. However, among serious amateurs and professionals, two other standard pitches are commonly found. For baroque instruments, A=415 Hz is the de facto standard,^[17] while renaissance instruments are often pitched at A=466 Hz.^[18] Both tunings are a compromise between historical accuracy and practicality. For instance, the Stanesby Sr alto, copied by many contemporary makers is based on A=403 Hz; some makers indeed offer an instrument at that pitch.^[19] Some recorder makers offer 3-piece instruments with two middle sections, accommodating two tuning systems.^[20]

The 415 pitch has the advantage that it is an exact semitone lower than 440 Hz; there are harpsichords that can shift their keyboard in a matter of minutes.^[21] The A=392 Hz pitch, is similarly another semitone lower.

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