Mr. Boehm, all is forgiven.

Irish Flute
1

I have a daughter that plays Boehm flute (a Gemienhardt) I have occasionally picked the thing up and tried to give it a toot.

Now understand that I’m the kind of fellow that can generally pick out a tune by ear on any instrument but this thing has been my nemesis. I could never get more than two or three different notes out of it.

Well, my daughter has been dying to have me pick up the boehm flute so we can do something together. Finally I relented. I went to the music store laid my $15 down and rented an Armstrong Boehm tooter.

The funny thing is I got the thing home and could immediately start playing some of my tunes on it (mostly :laughing: ). It’s really not so terribly different from the Irish flute. I picked up my daughter’s flute again…three notes!

Turns out that upon inspection my daughter’s tooter has several pads not even making contact. The reason she could play the thing is she pushes the keys REALLY hard and blows her brains out.

I got out my little screw driver and started fiddling…after a few minutes of tightening and or loosening of screws the rascal became much more cooperative.

Anyway, I just wanted to apologize publicly to Mr. Boehm for all the mean things I’ve said about him. :roll:

2

Incidently,

If someone wanted a Boehm flute with a darker, bluesier (is that a word?) sound would one brand be any better than another?

Doc

3

Here’s what you can do:

Cut a small thin strip of cellophane (from a CD wrapper, cigarrette package, or some such), and glue it to either a match stick or a Q-tip stick to make a handle.

You’ve made what’s called a “feeler guage.” Here’s how to use it:

Ok first, take a smaller jeweller’s screwdriver, and gently tighten the screws on the ends of the rods on the flute. Don’t lock them down! Then work the keys and back off on the screw slowly until all keys work freely.

Second part takes more patience. On the left hand keys, there is an adjustment screw on the “A” key. The A key moves two keys, itself and the one right above it. Using the feeling guage, move the adjustment screw until both pads hit with equal pressure when you hold the A key down with only moderate firmness.

You can check the “G” key and the other key it moves (one key down towards the foot), but there is no adjustment screw. If these don’t hit with equal pressure, the flute needs to go to a good repairman as the only way to adjust these is by shimming the pads, which is far beyond the scope of what I can tell you how to do on a message board.

On the right hand, all three right-hand fingers will bring down the “F#” key right above the “F” key, and each has an adjustment screw. Using the feeler, here’s how it should go: on the F key, the F and F-sharp pads should hit with equal force, and higher on the instrument, that pad right above the “A” key should hit with equal or slightly less force. On the second and third fingers right hand, their pads and the F-sharp pad should hit with equal force, or (as I prefer) the F-sharp pad hitting with only slightly less force.

Test-play after every adjustment to see if it’s better/worse.

If the pads are good and well-seated (which may not be the case) on your child’s flute, this should getting it playing very easily all the way down to middle C.

If it doesn’t, it really should go to a repairman. Nothing will slow down a young flutist’s progress more than fighting a flute that barely plays.

I have been doing Boehm flute repairs and adjustments for many years. If you have questions or encounter problems, please post them here and I’ll try to assist you or point you to the resources you need.

Best,

–James
http://www.flutesite.com

P.S.

If you are intersting in learning to work on the Boehm-system flute, a really great book to learn from is “The Complete Guide to the Flute” from Burkhart flutes, available at http://www.burkart.com/book/book.htm .

Even if you aren’t interesting in doing the work yourself, but you just want to know how the Boehm flute works, this is the book to get. It is only $35 and is well worth it!

–James



[ This Message was edited by: peeplj on 2003-02-21 11:20 ]

4

Hey, Thanks a million James. You’re a pal! :smiley:

I may just go ahead and order that book. I really enjoyed tinkering with the thing.

Any thoughts on the tone characteristics of different brands or styles of flute?

Doc

Incidently I was back hard at it today with my Irish flutes and still think they kick the Boehm’s butt on all things ornamental, but the Boehm sure makes those accidentals a breeze.

5

On 2003-02-21 13:29, Doc Jones wrote:
Hey, Thanks a million James. You’re a pal! > :smiley:

I may just go ahead and order that book. I really enjoyed tinkering with the thing.

Any thoughts on the tone characteristics of different brands or styles of flute?

Doc

Incidently I was back hard at it today with my Irish flutes and still think they kick the Boehm’s butt on all things ornamental, but the Boehm sure makes those accidentals a breeze.

Irish flutes also have a stronger low end and a harsher, richer sound than the Boehm system. I like my flutes to have a little growl to them these days.

On the different brands of Boehm-system flutes, it has been many years since I researched what was out there, so I really don’t think I’m qualified to have much of an opinion.

I understand that both Powell and Haynes flutes are popular with those who play jazz flute on a professional level. I would think either would serve you well, but be prepared for some real “sticker shock”–you probably paid a lot less for your car than what one of these flutes costs.

On a level more in reach to mere mortals, both Gemeinhardt and Yamaha make some very nice and flexible flutes.

The best Boehm-system flute I’ve played was an antique Rittershausen that I got to keep over a weekend many years ago. It belonged to Dr. Eugene Steinquest, and was an incredibly nice flute, with a big, lush, ringing sound–in fact, I believe the sound was similar to the wooden flutes I love so well now. If you can find one of these in playable or restorable condition, you could do worse.

Best,

–James
http://www.flutesite.com

6

So this is a good thread to ask a question that’s been in the back of my mind. The few good local Irish flute players are two busy either touring or with day jobs to give lessons, so I’ve been considering getting a bohem style flute and taking lessons from a jazz player I know. But, I was worried that this would not help or even screw-up my attempts at learning tunes on my simple system flute.

Any thoughts?

Eddie

7

I’ve got the same problem here in Idaho. Irish flute players are a little scarce in these parts. That’s one of the reasons I decided to do the Boehm thing with my daughter and take lessons with her.

I’m thinking at least a Boehm teacher could teach me good embouchre habits and breathing/phrasing stuff which would be directly transferrable to my real love; the six-hole Irish tooter. I figure it couldn’t hurt. :roll:

We’ll see.

Doc

8

Just my 2 cents worth.
I play both Boehm and Irish – I’d argue that the Boehm is incapable of a good deep sound, and I can certainly get it to growl (as can many, better, jazz fluters, and rock ones as well - Ian Anderson certainly made/makes his Boehm growl). I used mine, originally, for rock/blues and have used it recently for trad tunes that use multiple keys, O’Carolyn and tunes in other keys, such as A or Bb.
Wooden flutes actually have a much softer sound, and you have to really push them and effect a good Irish embouchure to honk the way they do; I prefer the sound, certainly for Irish music, but not because it’s in any way more aggressive. Boehms are quite capable in the 3rd octave, and an enormous amount of playing and composing puts them there frequently, so the sweet high-end, bell-like rep is well established. But play one with a more Irish approach, and stick to the lower octaves, and you can have a rich, full sound as well. Just not the same sound as a wooden flute, but more than usable and often a nice change.
I own an Armstrong – probably not far off from the one you rented – with a silver head. It had a thicker sound, to my early ear when I bought it, than the Yamahas and Gemeinharts, and I liked it’s rich tone. But I would try a number of flutes, and I don’t think any one make is better for one thing than another. Like all flutes, a better blues sound comes from the player, not the flute.

9

On 2003-02-21 14:25, Doc Jones wrote:
I’ve got the same problem here in Idaho. Irish flute players are a little scarce in these parts. That’s one of the reasons I decided to do the Boehm thing with my daughter and take lessons with her.

I’m thinking at least a Boehm teacher could teach me good embouchre habits and breathing/phrasing stuff which would be directly transferrable to my real love; the six-hole Irish tooter. I figure it couldn’t hurt. :roll:

We’ll see.

Doc

I agree; I don’t see how it could possibly do anything but help your playing.

After you reach a certain level, I think you’ll part ways with your instructor (and that’s a good time to check out scoiltrad lessons, by the way!), or the instructor will get hooked on Irish trad along with you. Stranger things have happened! IrTrad is contagious! :wink:

Do be aware that the embouchure and breathing techniques of classical flute may not work all that well on an Irish flute. In classical music, for instance, it is never acceptable to omit a note to breathe, whereas in Irish music that’s exactly what you want to do. Also a lot of classical players blow much more “across” the embouchure than Irish flutists do, and with a much less muscular embouchure.

Just some things to watch out for.

Best,

–James
http://www.flutesite.com


[ This Message was edited by: peeplj on 2003-02-21 14:53 ]

10

I think that flute lessons of any type will do a lot to help a beginner regardless of the style that person eventually wants to persue.

There is little doubt that the embouchure style is different between a classical flutist and a trad flutist. I’m more of the former, and when I play my wooden flute, it sounds more “classical” than when I hear the good trad players on the same style of flute.

To me the keyless wood flute is a pleasant diversion from the Bohm flute, which is a pleasant diversion from software engineering. So consider my comments in that context.

Bohm flutes are some of the most expensive woodwinds you can buy. I recently tried out a Powell – rose gold keywork, grenadilla body, $16,000(!). No, I was not thinking of buying, they had samples at a recital. What (or how many) will that get you from Patrick Olwell?

Back to the original topic of this thread, I’ve been saying for a while that a Bohm flute is a brilliant design and a maintenance nightmare. When I said that to my repair person, I think she took it the wrong way, but I meant it as a reflection on the designer… Keeping everything in adjustment can be tough - especially, unfortunately, on the student models. Oops, Sorry, I’m talking like an engineer again.

11

Oh, and in response to the darker, blusier sound question…

I’m not really sure you could pin that type of sound to a particular line of flutes. I really think it’s going to be largly an embouchure thing to get that sound. You learn to make that sound by your embouchure, then you can start shopping for the headjoint that emphasizes that sound.

12

Flutes are available in different wall thicknesses. The thicker tend to be darker than the thinner. The embouchure style and cut will make a difference. It’s best to play test to determine which will give you the timber you are looking for.

Bill