 The Doublers BBoard
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Author: DougR
Date: 2006-04-22 13:04
Hi all--
I'm very happy with my current setups (R-13/Borbeck, MkVI alto/Meyer 5, Super Balanced tenor/Link-Frank Wells).
My flute, though, is an Armstrong open-hole/lowB student model (plated), and while it's pretty good for what it is, even a mediocre player on a Haynes sounds spectacular by comparison. Hence, my question:
What SINGLE improvement have you made in your aproach to flute that yielded the MOST positive results in your tone/technique (without laying out several thousand dollars for a [insert premium flute brand here])?
I'm considering alternatives like:
-upmarket headjoint (e.g. Drelinger)
-lessons with a local pro doubler who gets lots of calls for flute work
-spending a grand or so on a step-up flute (if so, which one?)
-spending somewhat more than a grand if it will really REALLY help (if so, for what exactly?)
Thanks, Mark!!. Glad this forum is here!!
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Author: Merlin
Date: 2006-04-22 16:01
I know several players using Armstrong bodies with better heads, however, there are several Taiwan/American collaboration flutes out these days I'd be more inclined to check out.
Don't study with a doubler - study with a real flute teacher.
Play the flute EVERY day. No matter what.
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Author: Bret Pimentel
Date: 2006-04-22 16:26
> What SINGLE improvement have you made in your aproach to flute that
> yielded the MOST positive results in your tone/technique
That's an easy one--I took flute lessons! It's the best money you will spend on your flute habit, by far.
Good luck,
Bret
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Author: Tom Puwalski
Date: 2006-04-23 01:42
A few years back I found this device called a Pnuma-pro there is one in the Woodwind and B wind catalog. It is a blowing simulator that teaches you to blow and direct the wind. This helped a lot. I could practice it at red lights and I thought it was the best $60 I've spent on flute playing. I've lent it to other clarinetists who were trying to get the hang of the flute.
Tom Puwalski, former soloist with the US Army Field Band, Clarinetist with Lox&Vodka, and Author of "The Clarinetist's Guide to Klezmer"and most recently by the order of the wizard of Oz, for supreme intelligence, a Masters in Clarinet performance
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Author: DougR
Date: 2006-04-23 13:27
Thanks, guys. Many good suggestions here!
My query was prompted partly by a local performance I heard which I alluded to in my original post--a flute/guitar duo in which the flutist was pretty clearly at a student level with the instrument TECHNICALLY. I went with a friend who's a professional woodwind doubler, and we both were astonished by how good her tone was. We talked to her after the concert, and it turns out she was playing on a spanking new custom-made Haynes that she had just picked up at the factory a few weeks previously.
I don't plan on ever having that much cash, so your suggestions are very much appreciated!
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Author: sylvangale
Date: 2006-04-24 01:00
If you were to switch headjoints with that girl I think you will find that her flute would become far less desirable and yours more so.
There are limitless professional headjoint selections from around $800 to $10,000, yes the headjoint alone.
Flute makers Powell (Sonare), Haynes (Amadeus), Altus (Azumi), Miyazawa (Lyric), and Gemeinhardt (Brio) all have product lines that feature Tawaian made flute bodies paired with handmade heads which range from $1000-2300.
Your Armstrong body may well be comparable to these Taiwan offerings and could prove superior with a handmade head of your own selection. You should be able to compare your flute to others and swap headjoints if you go to a flute specialty shop.
Regards,
Stephen
Los Angeles, CA
[edit: grammar]
♫ Stephen K.
Post Edited (2006-04-24 01:01)
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Author: Gordon (NZ)
Date: 2006-04-24 03:45
1. Increase the length (from behind to front of lips) of the windway in my embouchure. (relaxed lips)
2. More air pressure driving the air through, between my lips.
3. Pressing my lips more firmly together when required.
4. Ensuring that my flute was in top functional condition.
Post Edited (2006-04-24 03:46)
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Author: martinbaxter
Date: 2006-04-27 18:10
Hi
I hate to say it but the best thing I have found to improve my flute doubling abilities was 5 minutes of long notes on flute, then a few scales on tenor sax. then another 5 mins of long notes on flute, checking their pitch against a tuning meter. I hate going from tenor to flute but after a week of this I can at least do it.
Martin
Phone 01229583504
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Author: melearly
Date: 2006-04-28 04:16
>A few years back I found this device called a Pnuma-pro there is one in the Woodwind and B wind catalog.
Looks interesting, but I bet you got some strange looks at red lights!
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Author: martinbaxter
Date: 2006-05-01 16:31
One local flautist round here uses a (hand made) wooden head joint on a Muramatsu flute and produces an excellent sound. Has anyone else used that setup?
Martin
Phone 01229583504
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Author: leonardA
Date: 2006-05-31 22:46
I think all of this advice is good. To that I would add think of opening up the throat and oral cavity as you play to increase the chamber for the sound and hence make a bigger and rounder sound. It works for me.
Leonard
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Author: am0032
Date: 2006-05-31 22:50
Check out Robert Dick's book Tone Development through Extended Techniques. It's a different and interesting approach to tone. I like it alot.
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Author: Jaysne
Date: 2006-08-08 21:54
Forget gimmicks and gizmos for your flute. That's not going to improve your tone.
There is no quick fix. The single best way to improve your flute sound is many, many hours of long tones. Not all at once of course, but over a period of years.
You have to train your embochure, throat, air supply, and ear to work together to produce a beautiful tone. And this takes a lot of honest, hard work. There is no shortcut. Start now.
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Author: Jaysne
Date: 2006-08-10 00:37
I should also add that you should take that money you wanted to buy a high-end flute with and instead pay a teacher.
Just because you have an expensive horn doesn't mean you know how to make it sound good. Again, buying an expensive horn is not going to improve your tone; you have to improve your tone. A teacher will give you exercises to do that, and give you feedback that will help you along.
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Author: BTBob
Date: 2006-08-27 15:50
Forget getting in shape for that show 3 months from now. Ain't gonna happen.
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Author: Tom Puwalski
Date: 2006-08-27 17:09
I totally disagree, you can get in shape on any instrument that you are remotely proficient in 3 months. You just need a plan. Hours and hours of long tones on ANY woodwind aren't going to make any difference if you aren't using your brain to help to figure out how you're sounding now and how to get the sound you're trying to get. There was a sax player in the Field Band many years back that would stand against a wall and spend 15 min. before every concert emitting the most horrendous sound I've ever heard come from a sax. I maintain this kind of thing does absolutely nothing for one's sound.
These are the things you need to improve your sound on any instrument
1. A Tonal concept: Find a recording of someone making a sound on the instrument that you are absolutely in love with. then buy a few CDs and spend a week really listening. Nothing but these recordings, get to the point where you think of this instrument YOU will hear this sound in your head. Then do long tones, listen to it does it sound like what you hear in your head? if not use your brain to try to figure out why! if you can't ask someone who plays the instrument that you really respect their input.
2. you need a plan, what are you going to do to achieve the improvement. How much are you willing to spend: time, money and equipment. Because all change costs something
3. you need a way to know if you've accomplished your goal. A really good recording of a piece that you will rerecord in 3-6 is a great way to hear if you're getting closer. Record it exactly the same way! write down all equiptment use to record. Mics, preamps, horn, mouthpiece, reeds everything! You're marking the doorway so you can tell if you've grown.
This is a process I've been using on basset horn, and who knows what thats supposed to sound like
Tom Puwalski, former soloist with the US Army Field Band, Clarinetist with Lox&Vodka, and Author of "The Clarinetist's Guide to Klezmer"and most recently by the order of the wizard of Oz, for supreme intelligence, a Masters in Clarinet performance
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Author: rcnelson
Date: 2006-08-30 13:19
Lessons from a flute teacher is the best way and is something I am planning on during the coming winter months. However, in lieu of that, and something that has been helping me is the James Galway warmups. 4 pages of beautiful melodic stuff that can be played thru in about 10 minutes (more if you want to take the time). My flute tone quality has improved dramatically. It would be even better if I could get to the flute every day. But my alto/tenor/clarinet combination, at least 1 or 2 rehearsals/performances per week, along with working 40+ hours in a non-musical job, having a home and family, prevents that.
Sir James' warmups can be found at http://www.christianflute.com/16307.html among other places.
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Author: nickles8189
Date: 2006-09-02 16:21
yeah, if you're gonna take lessons, take it from a professional flutist, not a doubler. and i have to say, i'm not a fan of armstrong, no matter what model really. they're better than selmer-bundy and artley, but gemeinhardt's the way to go for a step-up flute ;-) then if you wanna get into professional models you've got sonaré and such, but for step-ups, go gemienhardt.
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