I think this is sensible. So one gets up and running, more or less, on something playable. Like two or three years.
Then I do think, as there really are different voices and set-ups out there, it is a good idea, if one can
possibly find a way to do it, to do some exploring/playing of some different sorts of flutes,
to begin to see what suits one. (In this it’s worth keeping in mind that good flutes tend to
keep, or even increase, resale value, but of course there may also be friends, sessions, workshops…)
At some point, it’s good to get an idea of the options.
My experience matches Gordon’s. And it seems to have been the same with most better-than-me flute players I’ve asked over the years.
As I said earlier, the baseline has gotten much better in the last decade. So has the variety. Forbes, Copley, Somers, Folk Flutes, Tipples … for anywhere from $50 to $400 you’ve got a flute that will work, from a maker who’ll stand behind it, and who’s even within a time zone or two of you. These flutes are in tune, they don’t leak, they’ve got all the basics covered so you can focus on simple stuff like … playing well!
It’s such a great time to be getting into this. There are so many good flutes out there now. Not that there aren’t brilliant flutes, too, but past a certain point, the real brilliance comes from the player. I was pretty sure my Forbes is a terrific flute, but when Kevin Crawford played it? The thing sat up and took dictation. Talk about discovering how high a flute’s ceiling can go!
Anyway. If you’re serious and want to keep going with it, a “nicer” flute will manifest itself eventually, and with luck (and mileage) you’ll be ready to make the most of it. That’s when the real fun starts (or so I’m told).
P.S. “Touchy-feely purse fight” is still the best phrase ever. I WILL find a place to use that 