anyway, I think that the book is valuable for the last part, that has bios and transcriptions…
Love Y’all!!!
M
…Is it safe to come back in the playground yet?? 
The discography at the back is good. There’s tonnes of stuff there which I would never have normally come accross. This book is going to cost me a fortune in buying CD’s!
Having fun with double-cut rolls at the moment. I’ll never get any work done! (One of the hazards of being self employed, and working from home…too many musical distractions!!!) 
Cass.
From what I have heard of the book, apparently GL goes into detailed explanations, but perhaps that could be a good thing, in that he could thereby include even those who could have a flute in their hands for the very first time. More experienced players no doubt could then gloss over his material, until they perhaps could discover something of interest to them, at their own level, so to speak. So, perhaps three cheers to GL, for being so inclusive?
The take-home message is that there are lots of resources available to help us become better fluters.
Brother Cocus is absolutely right that there is no substitute for sitting at the knee of a master…in person or digitally.
The book is a good tool, but it’s a book. If you like books you’ll like the book.
I don’t think any player at any level could say there is nothing in there they could profit from. The history, the transcriptions of the greats, the discography…it’s remarkably full of good information.
Matt Molloy had some very nice things to say about it.
Grey’s playing style doesn’t appeal to all. It’s different. But it apparently appeals to enough people that he’s able to make a living doing it. It appeals to me. The Tradition isn’t in any danger of crumbling because a guy from Indiana has his own musical voice. 
It doesn’t seem the tradition in Sligo suffers any because the guys in Donegal play differently.
Patrick
Disclaimer: Doc Jones sells this book so he shouldn’t be saying nice things about it.
Disclaimer to the disclaimer: Doc Jones only sells things he likes. So maybe it’s OK if he says nice things about it…hmmm.
Disclaimer to the disclaimer to the disclaimer: Doc Jones rarely uses the book because he rarely uses books. But he should use it more than he does (he’s a bit of a slacker). He should also do a lesson with Harry.
The take-home message is that there are lots of resources available to help us become better fluters.
Brother Cocus is absolutely right that there is no substitute for sitting at the knee of a master…in person or digitally.
The book is a good tool, but it’s a book. If you like books you’ll like the book.
I don’t think any player at any level could say there is nothing in there they could profit from. The history, the transcriptions of the greats, the discography…it’s remarkably full of good information.
Matt Molloy had some very nice things to say about it.
Grey’s playing style doesn’t appeal to all. It’s different. But it apparently appeals to enough people that he’s able to make a living doing it. It appeals to me. The Tradition isn’t in any danger of crumbling because a guy from Indiana has his own musical voice.
It doesn’t seem the tradition in Sligo suffers any because the guys in Donegal play differently.
Patrick
That’s perhaps the most balanced and sensible post on a controversial topic that I’ve read on this forum in a while. Well said Patrick.
SteveB
With the qualifier that I have not seen GL’s tutor, I am reminded of the saying, that there are those who can do, and that there are those who can teach, yet where could I today be without good teachers?
“It’s a very mechanical approach to a living tradition. And I also find Gray’s playing rather uninspiring, even if it is accomplished”.
cousflute
“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”.
crookedtune
I feel that this post exemplifies one of the problems often encountered on any forum dealing with an art form, namely people’s inability, or willingness to differentiate between someone saying “I don’t like” and someone saying “it’s bad”. I believe it was Whistler who said, roughly, of an art exhibition – “I do not have the right to say it is bad, but I do have the right to say I do not like it”. I, personally, enjoy Grey’s playing and writing immensely but on the other hand get nothing from the group Cherish the Ladies but that in no way reflects on the excellence of their playing simply on my personal taste; a minority taste I accept.
As a total beginner in the world of flute playing I am learning an incredible amount from the members of this forum and will be forever grateful for the willingness of individuals to give so selflessly of themselves, answering, questions from novices in a kind and considerate manner; but please everyone, allow for personal taste without interpreting it as criticism.
You may have missed my point, Go. I respect Cocus’s right to hold strong opinions, and to voice them here. I also understand the point he is making. His kind of posting encourages lively discussions, and we all enjoy that.
I was simply balancing it out by noting that Grey does not hold himself up as “the” model for Irish flute-playing. He demonstrates HIS style slowly (and mechanically), and points out repeatedly that it’s just his own take on things. Then he goes to great lengths to point students to the recordings of many respected players, some of whom break lots of the rules that Grey himself proposes. The student chooses what to absorb and follow.
Most posters have agreed that there is great value in this, even if one isn’t particularly enamoured of GL’s own playing. If Cocus feels differently, his opinion is equally valid.
There really is no model for proper ITM playing – styles vary, and times change, in spite of this being a ‘tradition’. I studied really only one style for many years, and find myself - sometimes - a fish out of water with another style. In order to figure out what is being done, I have to either listen very carefully, ask some questions, or - if the first two choices aren’t working - read a book - or a paragraph or two in a book or website – that tries to explain it. Sometimes, this make things worse, but every once in a while, the lightbulb goes on and I say, oh, that’s how it’s done. Not a bad thing, after all.
I still play more in the original style I learned, and tend to gravitate toward players of the same ilk. But information is information, and it’s never a bad thing, if you want a more flexible arsenal behind your playing. If not, then why or when would you even encounter such a book, or - for that matter - be on a forum that tends to discuss playing tips?
Gordon
What do people think of the Index at the back of Grey’s book?
(My wife Nancy, who is a professional freelance indexer, wrote the back of the book index for Grey. Indexers rarely get feedback from authors, much less readers)
Seriously, I think Grey book provides for a huge need. Not everyone has access to a good session, other players and top performers who are willing to offer lessons. Many of us (myself included) started playing (and in my case making) these instruments in a total vacuum, aided only by recordings that we could only slow down if one was lucky to have a turntable or tape deck with a speed control. Other tutorials exist but my impression of them is that they are information sparse, obtusely written, or misleading. And in general, wanting.
Grey’s book is the opposite - the information is dense yet he writes with great clarity and focus. It allows for several approaqches. If one wants to dig only a few layers deep the book works on that level. But if one wants to delve deeply this book has much to offer. It is well researched including the aspects of different styles - something that was never explained well to me elsewhere. Grey’s book reflects his years of playing and excellent teaching workshops on the Irish flute and whistle.
Casey
If Matt Molloy has promoted GL’s book, then perhaps GL’s book could become an instant classic, so to speak.
I to am having to try and teach myself, I have sourced lessons but unfortunatley distance and travel costs make them impractical at this time; so books, like Grey’s, and resources such as this forum are invaluble to me. as is listening to all the music i can get hold of.
At the age of 52 I have no great aspirations but would like to think that I can eventually become an acceptable enough player to take part in sessions, for now learning and playing for my own pleasure are sufficient.
Once again thanks to everyone here for their willingness to share and indeed patience.
Provided you establish, and stay with, a regular, near daily, practise routine, such as countless other flute players do, you likely can and will do well at sessions, no doubt. However, there is a real risk of “burn out”, often brought on by trying to accomplish too much too soon. Moreover, it seems that most, if not all, players eventually “hit the wall”, a plateau, where it seems that no matter how hard they try, their results just don’t seem to be improving, and this in particular is an event you should be aware of, and be prepared to “suffer” through, as part of the learning process. I have hit the wall many times, and yet I know that if I just hang in there, in time I will be back on the road of progress, soon enough.
I asked my husband what he thought of the index…he said "Don’t ask me…I’m a proofreader, not an indexer "
He also said…“if you think indexers don’t get much recognition or feedback, you should spare a thought for poor old proofreaders!”
It’s a hard life!!!
Cass.
I know the feeling well, only I know it, fondly naturally, as the 2nd octave.
As a matter of technique, try this.
While holding your flute in the “up” position, parallel to the floor, picture horizontal. To get the lower register, blow somewhat below horizontal, and to get the upper register, blow somewhat above horizontal, at roughly the same angle above as below. Suddenly, shifting between the registers becomes really easy! As the technique, just use your lower lip to redirect the airstream, moving it slightly outwards for upwards and slightly inwards for downwards, and the flute will all but play itself. Being relaxed while you do these things works to your advantage.
Oh. Do people here think I’m opinionated? Jeepers, I’m sorry.
I forget that opinions are in bad taste here. Some of us remember what happened to Andrew Kirby. White bread is best, you’re right. Let’s all just agree on how agreeable we all are and not challenge each other or question accepted wisdom or what Matt Molloy says is best or say anything about real life, such as the war in Iraq.
Cranky? Me?
Maybe a wee bit.
You are right. It works.
Casey, the index is stunning.
As far as the book itself goes, I think it is a difficult book for a beginner. The first thing you learn to do is ornaments. The first real tune in the book is in the context of learning cuts. And the first tunes to practice the ornaments on are pretty difficult tunes, requiring some pretty good music-reading ability as well as tonguing and slurring and triplets. And to play along with the CD you have to slow it to half speed at least.
So basically, it’s a great book for someone who is already an accomplished player.
Don’t get me wrong, though. I am very glad I have it, even though I am not an accomplished player. It will serve me well throughout my “career” in Irish music. I have barely even opened any of the pages up, having only gotten to about page 149. I’m starting to think that although he wants you to follow the book in order, that I should skip some things and read some of the essays further along.
I guess that’s something that is missing when you try to learn from a book instead of a teacher. How do you know when it’s time to move on? The first tunes are difficult enough that I cannot master them well enough to move on. So should I just move on, unmastered, or stay put, playing the same tune over and over again? Perhaps I am simply not capable of doing any better than this? Maybe it’s just the tunes are too difficult for a newbie like me? How do I know?
Anyway, thank goodness for the index! It took me a while, but I discovered the index of tunes. That is helpful.
This is an orthodox moment, but, when I speak of flute technique, I do so in the awareness that my individual knowledge pales in the light of cumulative flute knowledge, that so very, very many other flute players here, on Earth, could also have insight, in that regard. Then again, as an acoustic machine, there are absolute physical limits as to how a flute can be played.
If I have said something which does not agree with your flute technique insight, then please, simply critique my critique.
Clip? What could a clip say to you?
RSVP
K
Hmmm, maybe we should ask Grey to make a “Companion Guide” that can address such quandaries for new students wishing to use it as a sole teaching aide. Benefits and pitfalls of such a method aside, of course.