I was very interested in Brad Hurley’s comments on a recent thread regarding a good way to bring out a strong low D on Rudall type flutes. Brad recommends tightening the lips and blowing more across the hole. In my ignorance I have been struggling to get a “stand out” low D tone on my flute until I read Brad’s advice. I’m able to drive a hard edged tone all the way down but I have been unable to make the low D boom out. After a bit of practice I’m beginning to hit a much stronger low D note. I’m wondering if anyone has any further insights into developing this technique and also into the required lipping differences between effective low D tones in the Rudall and Pratten type flutes.
I guess one thing I’d add to what I said before would be to blow harder on the D as well. To get a big bottom D on most Rudall style flutes, you need to tighten the embouchure, blow a bit more across the hole AND give it a blast.
I understand that not all Rudall-style flutes need to be blown this way, but many do. Some people complain that Rudalls have a weak low end compared with the Pratten, but that’s not true at all – once you get the hang of it, the bottom D of a Rudall has just as much volume and presence as that of a Pratten.
R&R perspective:
Getting a consistent hard D for me means relaxing the throat and focusing the diaphragm; it feels as if the breath comes from a column of air originating deep down in my trunk. Of course that’s a generally good approach for playing in general, but the feeling for me is one of applying more inner pressure when I want that hard D. From there, I apply more breath (=blow harder, but I’m a bit leery of the choice of words) for more intensity and volume.
I’d have to say, with my own experience, Brad’s advice is right on. I play a Pratten style which probably helps, but I have had a Rudall style flute. I tighten my embouchure, and give it a good blast as Brad said, It also seems to help to focus the airstream in a down the bore a bit more. Hard to describe, but I seem to direct it away from the far edge a little, towards the corner of the embouchure hole. Seems to work anyway, gives me a great Hard D. Kevin Crawford has great hard D’s on some tracks, and he plays an 8 key, which supposedly don’t have as nice a low D because of the way the foot is worked.
Corin
I saw Kevin with Lunasa last week and couldn’t believe how his low D’s boomed out of the flute, even over and above the sound of the rest of the band on full tilt. There are a couple of tracks on his “D Flute Album” where he crans on low D and each note in the movement in rock solid - the guy’s a bit good!
Cheers
Graham
I think these guys are right on with their advice. Perhaps ostensibly, it’s easier to blow a “barking” low D on a Pratten style flute, but it’s certainly well within the realm of possibility on a Rudall.
Speaking from the perspective of someone with a Rudall but who only has experience with Pratten copies (too bad Dave Migoya’s gone . . .), I’d have to say that part of it is mindset. When I pick up a/the Rudall, I’ve got this mental image of a refined 19th-century instrument, and it tends to sound that way. If I don’t think about it, I’ve noticed, I make it sound like I sound on a Pratten.
The other thing I’ve noticed is that I think it might be easier to get that kind of sound (the big low D thing) with the embouchure rotated more away from you . . . say, with the far edge on the line which runs through the middle of the finger holes, or with it even further away. I guess that kind of fits with the way these guys are saying they feel like they direct the airstream for a big low D. Hmmm.
Isn’t it great to try to put into words what no one really ever explained to you in the first place? I’m usually at quite a loss, this time included, to be able to verbalize what I do to do what with the flute. I don’t have any real idea how I jump octaves, but I do. Honest!
Stuart
historically, rudall&rose flutes have had a more dominant low D than a real pratten. in a room full of flutes it becomes obvious. but as is always the case, the player has to be capable of playing the rudall to its potential.
the angle of blow is determined by the cut of the embouchure not by whether its a pratten or a rudall - which is a huge oversimplification anyway as many so called prattens arent close to the original and the same is true for the many alleged rudalls. its a shame that this is how it gets reduced because it doesn’t do either of the originals justice.