Just got a copy of Grey Larsen’s “Essential Guide to Irish Flute and Tin Whistle”. What a fantastic book! I think if I play 'till I’m 90, I’ll never need another tutor book.
He certainly goes into depth, but in an easily understandable way…if you get my drift.
For anyone learning flute or whistle, if you haven’t got it…you should get it! 
I can’t put it down, and it’s stopping me from getting on with my work!
PS. I’ve cross posted this to the whistle forum too!
Cass.
I am happy for you that Gray’s book met with such a warm reception. But there is only so much you can get from a book. One lesson from a player like Harry B. will move you along much farther than all the tutors available. Like skiing or playing tennis, face-time with a pro is the best thing.
You can read a book and play the exercises till you’re blue in the face but there is no substitute for hands-on lessons or a workshop from an accomplished player. You might pick up a trick or two from a tutor and the accompanying CDs. But the money spent on The Amazing Slowdowner*, and attention paid to what a really gifted player is doing in the context of the music, is next best, IM(NS)HO.
http://www.ronimusic.com/
I know what I’ll be putting on my Christmas list…but knowing me…I’ll probably have bought The Amazing Slowdowner*, by tea time! (Or sooner!)
Cass.
As an engineer, I have lived in a world of explanation in depth, so to speak. Moreover, because it simply is impossible to completely separate my engineering self from my musical self, and to include numerous other comments I have seen on the FF forum in regard to GL’s tutor, such an in depth explanation is attractive.
Well, it couldn’t be harmful, eh?
Yes, it could be harmful. Concentrating on a bookish approach to something like traditional music can take a player away from much more important things, such as tone, rhythm, and phrasing. It’s a very mechanical approach to a living tradition. And I also find Gray’s playing rather uninspiring, even if it is accomplished.
Important People praising the book talk about “essential reading,” “beautifully written,” “required reading,” but to me the most telling comment is “wade through it.”
I was further put off by the claims of encyclopedic comprehensiveness of the approach. What tradition is the book rooted in: Donegal? Kerry? Slieve Luchra? Clare? West Clare? East Clare? I can’t say I’ve spent hours with it when I owned the book, but I thought it homogenized different styles. After you’ve gone through the book, would that make you an accomplished player or an authority on ITM?
Most of the reviews on C&F lead me to believe that the book has been bought mainly by relative beginners and that they are finding it hard going. I can’t imagine learning how to do a roll by looking at a book. And if you already can execute a roll properly, snapping the finger down to pop the note rather than to sound the note (you’ll know what I mean if you can do it), then where is the need for the book? You need somebody to watch you do a roll and to say, “Watch my fingers. Do it this way.”
I 'd say spend the money on CDs and lessons and workshops. Instead of spending the time slavishly copying dots in a book, spend time listening to a lot of music and trying to play what you hear when you use the ASD to reveal the technique of a great player.
Sorry if I’ve rained on anybody’s parade. This is just how I see it. If people find the book useful then I’m wrong and I’m glad they have found inspiration. But if you find it hard going it isn’t your fault.
I’m not sure the comment about GL’s individual playing style is especially pertinent, especially since his book is chock-full of references to many of the great established and respected trad players.
He presents his take on things, and does it well, IMO. Is the “the Bible”, and does it replace learning in sessions, and from living masters, when possible? Of course not. No one would claim that.
I’d call it money well-spent, as part of a varied approach to learning.
My having not actually seen GL’s book, it appears to be focused on technique, as in his experience on how to do certain things. I have already seen a number of good books on technique, but this one seems interesting. Of course, book learning does have its limits, but what harm could there be in studying his technique? He seems to be an accomplished player, so perhaps he could have something worthwhile to say.
To be fair, the book contains by far the most thorough and careful description I’ve ever seen of the technique required to play a roll, what a roll should sound like, etc. And since it comes with CDs demonstrating what they should sound like.
Also, the book spends 70 pages on rolls, yet is 480 pages long. There’s a lot more in there than just teaching you rolls. Frankly, I’ve mostly ignored the technique section, but found the book thoroughly worthwhile just for the transcriptions of great players.
I 'd say spend the money on CDs and lessons and workshops.
Since the book (including CDs) costs under $40, saving the money for something else isn’t exactly going to get you very far.
Not everyone learns the same way. I have no trouble learning skills
from books and from listening to it being done, instead of watching it.
Though, a teacher IS good for fixing your errors before they become
habits.
I seem to have opened a can of worms here!
I am no beginner as far as reading music and theory goes (does 31 years of it qualify?)
I’m not aspiring to become an authority on ITM, I just enjoy playing the music. That’s what it’s all about isn’t it?
I just liked the look of the book, and bought it. I’m enjoying reading it. Please don’t beat me up for saying so! 
Cass.
PS. and I know how to do a roll! 
I suspect this makes you the ideal target for the book. Just remember that he tends to go more exhaustively into detail on each topic than you’re likely to need to know. Supplement the book with all the good CDs, lessons, and workshops you can get, and you’ll do fine.
I think Grey’s playing on the CDs that come with the book requires mechanical-ness, if that’s a word. He has to play what he’s written and not embellish it with too much extra stuff. Otherwise, how can he illustrate the specific things he is trying to highlight?
He does have a specific style. I can identify him at once when listening to other CDs. I can also identify Mark Roberts at once. He’s my favorite.
Perhaps teaching, and focusing on, the raw mechanics of how something works could better illustrate a technique, the end result being a better student understanding of the technique.
I pretty much agree with cocusflute, although I feel less militant about it. I think Grey’s book helps to bring home things that you may have learned, but felt either unsure about it, or did not quite understand the mechanics. Always start with your ears.
I appreciated the validation of things that I’d been doing for years, and I was able to hone some techniques that I thought I’d learned, but then discovered there was some aspect I had overlooked.
You can never have too much information, but as I have said before, go for the sound first, and get someone to show you, if at all possible. The book should serve as a supplement, not as a surrogate teacher.
???
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Sigh.
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I assume the rough translation of your post is, “You might very well think so; I couldn’t possibly comment.”
I’m keeping out of it!!
I’m the new kid in the playground!!! 
Cass.
Somebody’s gonna get your lunch money. It’s just a question of who!
BestPractice is another practice software option:
http://www.xs4all.nl/~mp2004/bp/
Combine it with “Audacity” and you can tailor things to be used for practicing.
…john
P.S. I have Grey’s book, but am still working on McCormack’s at the moment.
Cass, welcome to the club. I’m only a couple of years in, so I understand the feeling. I have Grey’s book, and went to one of his workshops when he was here in Australia. I find his explanation of articulations really helpful - it pulls together all the seemingly unrelated topics into a coherent whole. Also, it helped keep me from being lead astray by well-meaning other musicians who decribed rolls and other ornaments as “grace notes” and played them like classical ornaments.
Ok, so Gray probably does go too far in systematising what doesn’t need to be systematised. Still, some of the reactions that get posted here tend to sound like religious fundamentalism - the guy must have really upset someone in his past!