She’s slim, with a football-shaped head, slightly oily all over, but only one foot. Oh, what a long F - don’t anybody tell my wife.
And she’s an older lady…
The B&S Dulcet Improved, fresh from Jon C’s shop, has now had a five hour workout, and I’m typing with one hand (make of that what you will… …hand cramps from poor technique).
The restoration is perfect for me - updated with modern pads, vent heights set nicely, everything cleaned up but not scoured of character. After so many years of Yamaha, Buffet and Boossey keywork, these delicate little mechanical bits are a joy. I even like the clackidy-clack of the pewter-plug foot: reminds me a bit of pre-war British cars I worked on in a museum. Tone? Sounds exactly like Chris Norman’s Rudall. No, really. Come over and check, any time… Pender Island? Go to Seattle, hang a left, then a right, dry off, take a left where the old gas station used to be…
Stay tuned for my posts (no sooner than next week) about how unlivable the intonation/ergonomics/blahhblahh is. For now, I’m smitten.
There seems to be several opinions on how to learn keys, but here’s what I’m doing, just in case anyone’s in the same boat:
I’ve put together a little folder of tunes just for this flute. Fiddle tunes in non-keyless keys (Dusty Windowsill, Tamlyn’s Reel, some Cape Breton stuff), Bach Flute Sonata in Eb (which I know very well in another key), and some pretty O’Carolan tunes. I’m also doing chromatic scales and fragments (five notes, up and down ad nauseum). Arpeggios are next - 12 major, 12 minor, 3 diminished, 4 augmented. Everything is at tempo di learno for now, except the O’Carolans.
Seriously, one needs all eight for Steady Study on the Boogie and other ‘new music’ from Japan and Bordeaux. That stuff makes Boulez look like Telemann.
Hey!!! Wasn’t I supposed to be gloating about a flute?