As I learn to switch from piper’s grip to normal/standard grip, I find I am having to realign my flute and possible change the embouchure to get it playing well. Is there a best way to mark a wood flute, so that the sections can be put together quickly? I know some flutists scratch lines into the wood, but that seems abusive to me (not to mention, it reduces resale value). Another possibility is to put tape on the flute, but that might leave a gummy residue.
For now, I am using a cosmetic eyeliner pencil in a dark brown color. It comes off very easily and leaves no trace. Is there a better solution?
Interesting. I’ve never used anything, just
sort of guess. I sure wouldn’t do
anything permanent, if only because
it might change. Scotch tape
seems pretty safe, I think.
You could do what T Prowse did -put little metal studs in to line up in the manner Mr Nicholson approved of.
Failing that you could make notches with a small axe !
Gaze down the length of your flute to line up those pretty holes
or offset them to your fancy
It is a lovely sight indeed, one you don’t get while you are playing
On the other hand, if you are blind (and you won’t be reading this, but perhaps your computer talks?), or playing in the dark, those wee metal studs Andrew mentions are just the ticket, just let them stick out a fraction and your finger will know what to do.
If you stand inder an overhead (ceiling) light, or looking out a window on a bright day, slight movement of the flute up and down while looking along the holes and the embouchure hole, you will see a stream of reflection. I use that stream of reflection as a marker. Its like the stream of reflection the moon leaves on a calm bay. You can gauge by it where the holes line up and remember the “right” spot.
Last year I parked just west of Dingle overlooking the sea and across to Kerry to look at the reflection of Mars in the still waters. Quite a sight. I would never have believed it possible !
I clean forgot to align any flutes, but it was about midnight !
AndrewK, was the moon in the 7th House, and Jupiter aligned with Mars?
Sorry, couldn’t resist.
(Only people of my ripe age will likely get this one, anyway…)
Sometimes, in the right light, it is possible to see certain grains in the wood, which you can use as guides to align your flute.
Actually, I line up my flute in a general way, then play with the headjoint as I go, moving it around very slightly until I hit the sweet spot just right. I don’t think I ever have it the same way twice!
I asked my teacher once about how to get the embouchure hole aligned correctly each time I put the flute together. He pointed out that I’m (anybody, for that matter) not generally playing exactly the same every time, and will generally have to make subtle adjustments. He advised against anything such as alignment marks.
I generally start with the far edge of the embouchure hole aligned with the centers of the tone holes. It varies with day, type of music, and flute, though.
I used to use a small piece of black electrician’s tape on my barrel and one on the head when I finally found the sweet spot for turning the head in for best embouchure. After a while though, I think you’ll find that you can do it by eye.
Andrew mentioned the alignment dots provided by Prowse on the Nicholson’s Improved flutes. But I’d bet you’d be surprised to see the alignment that it appears Nicholson himself favoured. Check out:
I haven’t seen any observations by Nicholson on it, but it is a really standard feature of Prowse’s work. My experience is that it gives a quicker response, and slightly brighter, but at the cost of a little loss of tone, particularly in the lowest notes. Tone apparently wasn’t Nicholson’s problem - he had it in buckets - so maybe this really suited him. Most makers of the time stuck to around the 27mm mark, and earlier makers had preferred 28 to 29mm, presumably preferring the tone over the agility.
some makers like monzani offered two heads, for slightly deferent pitch, I would consider two deferent heads, one dark with more resistant and focus and one bright, quick and loud, for two deferent settings.
One could see the Prowse / Nicholson arrangement even better on a T. Prowse flute which has just gone to Scotland which had a one piece middle section with the holes offset in the one piece of wood !
I was once the vogue to remove the long F keys on Prowses. Usually beautifully done, as has been done on the one I am offering.
There’s certainly some logic in that, Eilam, providing I guess that you have the flexibility of embouchure necessary to adapt quickly. Could work well to the advantage of recording artists - spend a week concentrating on the quick’n’dirty head to record the diddley tunes, then a week on the dark’n’deep head to record the airs, song tunes, slow reels etc. Then remember to tell the mastering engineer not to EQ them back together!
The real aim of course is to be able to have our cake and eat it too. The embouchure hole still remains our most unexplored frontier.
