I have a used flute now on trial (Seery) to see how I like it, but I’m having a hard time playing it up to pitch without really honking it-and then it loses a lot of tone. I’ve had it for a week now, and I’ve adjusted pretty well to it, I would say, with room for improvement in getting a better blow, no doubt over an extended time.
I seem to have this problem when the embouchure hole is undercut a lot, and this one seems to be cut fairly normally, though a little asymmetrical in the undercut, and then when you get to the bottom of the chimney, it is even undercut more-which leads me to believe maybe that is causing the hard to hit pitch of playing in tune at A440, though the flute is well in tune with itself-there are no tuning issues.
Otherwise, it has a lovely singing and lyrical voice when played quietly, which really makes me want to play it. But with a reality check, it’s not that practical for me to keep a flute I can’t play up to pitch fairly easily, and not one that doesn’t have a tone I like when up to pitch either. I have thought of maybe having someone recut the embouchure a little (it’s very narrow in width-9 mm wide X 12 mm long, so I’m wondering if it may work to widen and make the chimney more vertical). A flutemaker’s opinion would be very welcome on that idea.
Anyone experience a similar problem of having to push a flute too hard to be up to pitch? I also recently tried a friend’s flute that had a large undercut and unfortunately, I found it to play similarly for me.
Any ideas or feedback are welcome, thanks!
PS By the way, this is no doubt my problem, and not the flute, except how I relate to its dimensions, and probably most people who have a strong blow and lots of energy, won’t ever experience this-I’m probably the odd one out here.
A couple of comments on the Seery (would also apply to the Hamilton or other similar flutes):
First, even when playing softly, these flutes require air support to play in tune. Remember, a flutist never works harder than when playing his softest!
Also, try rolling out a bit. I don’t know why but I’ve met many folks who try to play with the head rolled very far in, and it makes the flute harder to play than it has to be. Only cover about 1/3 of the embouchure–that’s less than it feels like! Look in a mirror when playing, it can help, especially if you look for an angled view instead of straight on.
Thanks James, I have tried playing it rolled out without covering any of the hole, and it still is a hard blow for me, and the tone isn’t to my liking either that way.
Also, I do use quite a bit of diaphragm support when I play too. They are very good tips, thanks just the same-and it may help others besides who haven’t tried them.
But, I will try playing more with the embouchure hole inline with the tone holes, I know it helps many times, depending on the cut of the embouchure-seems to work here too-it may be the key for this flute in the long run, so thanks again!
i thought of the same thing. i saw someone unknowingly try to play a left handed seery as if it was right handed, and it was obviously very frustrating for him.
Yes, Eric, I did try it lefthanded, but there wasn’t any significant difference, and the undercut was about the same on both sides, it seems now comparing them.
The headjoint cork is very tight, and so is the slide-don’t think it’s a leak, but I’ll try the suck test just to be sure, thanks for the suggestion.
I can play the heck out of it, and it sounds very good, but getting it up to pitch isn’t just like that, although as James suggested, not tuning the headjoint in makes it a little easier to hit, but it still takes pretty much push to get it there.
Sure the cork is actually in the correct position?
I repeat, from what I’ve said somewhere:
Headjoint cork should be at approx. 19mm.
More on the subject, from my email archive.
A good starting point for the tuning cork is one head tube diameter back from the center of the embouchure. This will be around 19mm or just under 3/4 inch for most flutes. It is worth buying a 5/8 inch diameter dowel from the hardware store and making marks from 15 to 25 mm from one end (or 5/8 to 1 inch depending on your preferred units). You can use the dowel to move the cork and measure its position. The final adjustments should be made by playing and checking the tuning between the first and second octaves (assuming you will not be playing much in the third octave). If the upper octave is flat relative to the lower, then move the cork towards the embouchure a mm or so and try again. If the upper octave is sharp, move the cork away from the embouchure.
The cork only makes minor difference to the low octaves, so use the slide to get best general low octave tuning with the cork at the nominal (19mm) position. Check the relationship of the three D’s and make adjustments to cork position to optimise that. Readjust slide if necessary afterwards to correct any changes in the low octave (unlikely). Now check the tuning over the range of interest (the first two octaves or more if you use more). You may need to readjust the cork position if it has created any problems there. You might also need to readjust it if overall response is weakened.
Yes, Kevin, thanks-the cork is in the correct position-that’s one of the first things I check when I get a flute, or when one sounds wonky-it needed a big adjustment when I got it, and it’s tight too.
I also put my Ward Blackwood (which I have no problem playing up to pitch) headjoint and barrel on the Seery body, and it registered the same on the tuning meter as with the Seery head, blowing at a steady soft blow. I might try that again later tomorrow when I can blow at full volume just to see how it reacts.
Presume you mean that you find it hard to get the lower notes up to pitch. Perhaps you’re getting the A or G in tune by ear or with meter etc. and the low E & D are flattish?
If so, I think that’s a general design issue. As far as I can see these notes are often made a touch flat and have to be pushed with a good embouchure into pitch. That’s the way it is on a Hamilton and I think Seery flutes may be roughly similar.
I also have a McGee Rudall flute and the first thing I noticed was that the bottom D comes to pitch much ‘easier’ but it doesn’t sound the ‘same’.
Yes, Flutered, you’re correct in assuming it’s the low notes that are flat, A on down to D. I can get them in tune, as I said, but it’s really pushing it, and it doesn’t sound all that great if you’re playing a slow tune.
I was thinking the same thing about it being the design of the flute-and how I relate to it, but I was hoping to find a tweak that might help-though it might not have anything to do with the more undercut embouchure as I had thought, and recutting it might not help-but that’s what I wanted to find out from others, if they experienced this on embouchures that were more undercut than the more vertical chimneys. And if a flutemaker or two might have an idea about it.
But, just thinking more about it, I imagine not many simple system flutes are designed for quieter playing-even if you are playing a slow air, it’s a given that it will be at a higher volume level-for performance reasons, as in noisy environments, or in venues that don’t use microphones to amplify, and you are still able to have the audience hear you-makes sense, but that’s not generally how I play when I’m at home just being quiet! I don’t mind playing a little louder to get up to pitch, if it still has a nice tone, but I do mind when it takes much effort just to be there, and it not sound great either.
It just seems that this flute doesn’t have the best tone when played like that, and I’d rather it sound as nice as when it’s played more quietly. The embouchure inside walls, and the inside of the finger holes are not polished and pretty rough, as well as the bore, but I don’t know if that would help it play easier (and more solid) on the low end and make it sound better. I guess it wouldn’t hurt to try that and see how it responds afterwards though, if I keep it.
Or, maybe this is one of those flutes that you just need to spend more time with so your embouchure adapts to it over time-that’s been the case with most problems I’ve experienced on the flute so far.
I’ve been making good progress lately embouchure wise, so no doubt I still have a way to go yet-as in the rest of my life!
Greenspiderweb, I think that you may benefit from one of these: breathing exerciser
According to the scientific data on the ebay description page, you should be blowing those flutes up to pitch in no time. I own one of the breathing exercisers that my mother got in the hospital. As you blow in the breathing tube, you suspend three colored balls in vertical tubes. I keep this in the basement and use it when I am feeling really bored.
Another alternative is Doug’s Lip Balm for flutists @ $29.95 for .5 oz tube. The balm contains Cayenne pepper that swells the lips, giving them new vitality to get those difficult notes on the flute. Caution: this product is still in the development stage.
No, but thanks for the great suggestions, Doug. I think I just need an alto flute, and then I’ll have all those low notes I like so much (and then some) with no problem.