Fliuit & Fliuit 2 are available direct from www.draiochtmusic.com, where you can use paypal. Prices are listed in dollars.
The books are posted direct from Ireland, not the USA.
A new flute player needs some embouchure work, as others have mentioned, and usually won’t be found in an Irish tutor. So, I’m posting to you because I’m sometimes considered a kind of Tone Techie/Guru, if you will. A fuller explanation of how I form my embouchure can be found on my website. Email does have many down sides (and we DO like that frown, by the way) but some have at least found little clues here and read further, practice these tips, and off they go:
I teach what is considered in the classical world, a relaxed embouchure, however with center of lips being the focus rather than tightened corners. I learned this embouchure when I embarked on my college journey many moons ago and was taught a sort of magic bullet way of of puffing out my cheeks and doing tongueless attacks. Whoo, whoo whoo, hold. Slowly so you are getting a feeling each time that you are doing it as best as you can and not hurrying the process without really thinking it through. I suggest first using a finger for your flute; no tone expected from your finger so therefore nothing to really stop you from trying something. Blow, downward as mentioned in other posts, but allowing the air to go right into the cheeks. Tight corners gone, replaced by much more scrunching up in the center of the lips where the focus of the tone will now be. (What I missed in my teacher’s attempts to change my embouchure in HS was the fact that he kept saying to relax, be looser, but nothing was being told to me that I was going to replace the area of focus so naturally you either get no tone or revert to using corners.) The stream of air will go directly down with the help also of a slight overbite to direct it. But you will be literally puffing your cheeks. Next try with the flute, but try first a high note to give you a really good “blow”, lots of air pressure. What you will find is that, without any use of the corners pulling back at all, a fairly good tone will come out with very little adjustment. Keep trying without tonguing. As was suggested, put the flute up, place, blow. Put it down, redo the process. The higher up you go the less scrunching needed which is why you try the upper register first. The lower you go, the aperture is supposed to get bigger, of course, so therefore more attention to focusing with the center muscles, scrunching, forming the opening, takes place as you get lower. The somewhat ideal amount, being the average, will be around D2. You will find this note to be receptive to little changes as well as will show you what more bringing in of those muscles you need to do. I’m not saying it’s tight, by any means, but also don’t assume that this relaxed embouchure means that you are going go limp. I think that’s the most common aspect of not getting the embouchure when changing from the smiling one. You ARE focusing with muscles; just different ones.
You will definitely decrease the amount of air you expel once you learn a better embouchure, one that doesn’t let it leak out of a too-big aperture 
The idea of a good embouchure, no matter what kind of flute you’re playing, is to be able to achieve the sound and the dynamic that you want at will - without fainting while trying.
You can read more on my website and you’ll see where in the index.
(I’m giving a workshop in Manchester - Aug. 23 - , if you’d like to come and do some tone work plus learn some klezmer, although a wee bit harder on the keyless flutes as I must eliminate the raised 7th tone in the melody - but it’s doable
And finally, welcome to the flute!
Adrianne
Professor of Flute, Mount Holyoke College
http://www.klezmerflute.com
I’ll chime in on this as I own a couple of the books already mentioned.
My favorite is Timber by Fintan Vallely. Great humor (or humour I suppose) in the book, decent tunes, and a very specific focus on the Irish style. Not a ton of tunes in the book but the tutorial part of it is excellent.
I have the Mel Bay complete Irish Flute book as well and I am quite displeased with it. It’s really poorly organized and difficult to figure out where all the tunes are that are on the CD that comes with it. For instance, a couple tracks on the CD have numerous tunes that seque into one another of course, except the sheet music in the book is not in the same order! If you wanted to listen and follow along with the book, you’d have to figure out where all the respective tunes are beforehand and somehow turn back or forward however many pages to keep up with the recording. Also, a great deal of the tunes in this book are in weird keys like A flat that are essentially useless unless you have an E flat flute. Lastly while the flute playing on the CD itself is pretty impeccable and the transcriptions of certain solos quite detailed, the CD suffers from atrocious backing tracks, ie all that New Age-y synth pads and fake choir oohs and aahs. Totally ruins the sound, would’ve been much better to just hear the damn flute by itself but some Kitaro wannabe had to shit all over everything with his goddamn DX-7.
Lastly it’s not a tutorial book but Dave Mallison’s 100 Essential Irish Session Tunes is a great book to have if you’re in need of a lot of jigs and reels to learn. Most are in keys that are playable with a keyless D flute; plus you can easily arrange your own medley fairly easy just using tunes out of this book.
June’s books are available direct from their website at www.draiochtmusic.com
Books are shipped from Ireland. Shipping usually takes under one week.