Klarinet Archive - Posting 000490.txt from 2004/11
From: "Thomas" <thomas@-----.net>
Subj: RE: [kl] Clarinet and Flute Doubling
Date: Sat, 13 Nov 2004 19:24:57 -0500
I have studied flute privately for years, my teacher is a Curtis grad &
former principal of the Delaware Symphony (Pat Kendel). Because I did not
want to blow a lot of money on something that ended up being only "ok", it
took me *3 years* to find my flute. And the selection is unbelievable. We
clarinetists wish we had such a selection. So don't feel bad asking about
it!!!
Do you live near a major city where you can go and try several makes and
models of flutes? Something other than Yamahas and Gemeinhardts, or your
basic band flutes? Because if you have no access to instruments, it will
be hard for you find something that makes playing easy for you yet also
something you won't outgrow in a few months.
Here are a few general tips -
1) Don't play the clarinet Before you play the flute (or on the day you go
to try flutes) until you have developed your embouchure enough to be able to
go back and forth. They are totally different embouchures and it will take
you 3 times as long to warm up your flute embouchure if you play clarinet
beforehand!!! This especially goes for double lippers. Twice the fun! :D
2) Don't assume you can't get a good flute unless you spend a lot of money.
The one thing you do want - above all else - is a solid silver head joint.
It will make all the difference in your sound. You do Not need an all
silver body - the sound is produced in the head joint - upgrade later if you
feel you've outgrown a silver plated body. BUT what difference the
all-silver body makes is in the engineering of the keys. More thought and
engineering is put into a more expensive instrument. You will have better
response from a better instrument, which of course makes sense.
You gotta watch. Many flutists are divas and somewhat snooty about all
silver or whatever issue they have with flutes. ;) The difference in
sound of a solid silver vs. plated is not necessarily "remarkable." One guy
I know has a plated Lot (silver HJ) and it sounds a lot better than a lot of
solid silvers I've heard. And you should hear Pat play a student flute.
90% of it's the player, it's like us playing a plastic Bundy.
Pearl (yeah, the drum company!) makes Excellent flutes - so do Yamaha and
Armstrong - the ones with solid silver headjoint and plated bodies are fine,
and if you go all silver, Pearl and Yamaha are the way to go if you don't
want to spend a ton of money. Of course, you can spend a lot, too, I have
a loaded Pearl Elegante that was worth every penny. I also love Altus
flutes, someday I will have one.... :::::::::heavy sigh:::::::: I've seen
used Pearls and Yamahas go on eBay for under $1000. The Pearl 600 series
is a good model, silver head w/plated body and foot joint.
I have found that Gemeinhardt's hole in the lip plate is way too small for
doubling. It makes it more difficult to produce a good tone quickly and it
is difficult to produce the tone to begin with. Their non-professional
model flutes really leave a lot to be desired. Also, I don't like the
Buffet-Cooper flutes. Both are rather dull sounding.
If you want to go all silver, go bottom line Pearl (700 series) or Yamaha
674. (Or if used Yamaha - 400/500 series) Beware, Yamaha has changed their
model numbers. The old 500 series (whatever number in the 500s) is now the
600 series, old 400 is 500s, etc. But these are all under $2000 new - I
got a Pearl 761RBE from Weiners for a student for under $1500.
An Armstrong 80B is under $1000 new (to us musicians, that is); I've seen
them go for under $500 on eBay. The 80B is an all-silver model, is easy to
produce a good tone. But it doesn't project, you can never truly play loud
on it, and I've tried several head joints on it. So in this instance, you
get what you pay for.
3) Open holes mean diddly squat, the difference in sound is negligible.
Ever play a closed-hole Haynes or Powell? Wow. I have a friend with a
closed hole Sankyo that is amazing.
I have all save one of my plugs out, because I've found that switching back
and forth makes it so that I can never be consistent, finger-wise, on open
holes. When all I play is flute, then I'm fine. But I find in doubling I
am inconsistent with the middle finger on my right hand; someone else may
have a fourth finger issue (either hand) or something else. Problem is
that you usually can't get the better flutes without open holes. Buy plugs,
they don't make a difference at your level. As far as offset G vs. inline G
goes, get whatever is comfortable for you.
4) If you have a choice, get a split E on your flute. It will make all the
difference in your getting that note out, because unless you really work,
it's going to be difficult for a doubler. Low B foot is nice to have, but I
have doubts that you will need either it or high C anytime soon. The low
Eb/D# roller key is great, though.
5) Go buy yourself Practice Book for the Flute, Book 1, Tone, by Trevor
Wye. Live with that book, use it every day, and you will eventually have a
good sound. You also want Taffanel/Gaubert's exercise book, that's the
flute scale Bible.
Please - feel free to email me if you have questions!
Lynn
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