When it comes to the Irish flute, I think a lot of people get caught up in wanting to have a huge tone (so they can shatter punters’ pint glasses). However, before trying to achieve loudness, I think it’s important to spend a lot of time aiming for quality of tone. While the particular flute contributes to the tone, the player is the ultimate source of tone.
I think it’s useful to play along with players whose tone one admires; try to match different players’ tones as closely as possible. For that matter, try to match the tone of a fiddle, or pipes, too. The idea is to not just have one tone, but to learn various tone colors (learn to emphasize different harmonics within each note). And learn to play from whisper soft to loud and powerful–that range will expand with time spent practicing. (Getting to know one flute intimately is of course very helpful in achieving all this.)
I think the most important elements of music that is satisfying to play and to hear are good tone and good rhythm. Ornamentation and such is pointless without these two foundations.
I agree! Tone, rhythm and intonation are the foundation. Trying to get fancy with lots of ornamentation should only come after one has the others. Some of my favorite flute players aren’t as flashy as others, but they’re tone and phrasing is wonderful. Claire Mann comes to mind for one.
I think I have said on here before, I would rather hear bad fingering with great tone than great fingering with bad tone! While I am not one for spending time blowing long notes or practising scales, if you play a couple of tunes at half speed, it lets you concentrate on your tone but keeps your interest.
Who would you point to as the great tone masters - bit of an open-ended question really. I would say Jean-Michel Veillon, Kevin Crawford at one end of the spectrum, Niall Keegan and Conal O’Grada at the other.
Graham
Resently, I’ve become more and more impressed with the tone and phrasing of Seamus Egan, of course he’s got lots of fancy fingering as well, but the more I listen to the sounds that comes out of his flute, the more I love that tone. Listen to the first tune in Solas “Vega Set” where Seamus plays solo, the more I listen to it, the more I’m blown away by the small phrasings and breath pulses that makes all the difference, together with the fancy fingerwork. Such a powerful player, capable of such subtle nuances.
I wouldn’t put J.M.Veillon and Kevin Crawford at the same end of
the spectrum personally.Veillon’s tone has lots and lots of different
nuances and colors to my ear,while Crawford seems (again to my
ear) to play everything with only one tone color.What I really admire
in Kevin’s playing is his sense of rhytm and his precision.
The issue of tone is a great one. Although the ITM group has had problems with Chris Norman, I’d be in heaven if I could produce his tone. I don’t want to “imitate” him but be able to have the same tone quality as he has.
Then, too, I attended a concert with Skip Healy playing a soft and gentle tune with John Skelton and would love to be able to produce Skip’s tone. What I realy look forward to is having MY tone with the qualities of the above mentioned. I have a serious problem with “imitating” so-and-so’s playing.
BillG
Yes, really interesting thread, especially since, while I’m not new to trad music, I am new to listening specifically to flute and to trying to appreciate differences in tone. I don’t have much of a vocabulary for it yet. I enjoy the edgy, full-bore stuff, but I also like the variety of tones in Chris Norman’s playing–his mix of Irish, American, Scottish, and Cape Breton tunes sounds less like crossover to me than it does like the kind of tune selection and playing you find in the New England style sessions around here (eastern NY).
Listening in the car today to Michel Sikiotakis playing with Robin Bullock on their cd, “The Irish Girl”–especially his very comfortable tempo on “The Frost Is All Over,” where the nuances of ornamentation and tone were very clear. Nice, and quite helpful for a beginner.
I took a workshop with Chris N.
What a lovely sound he gets
from a flute. Perhaps oddly
he sounds a bit like John Skelton
does on his Olwell cocus Pratten.
The difference seems largely
a difference in flutes.
I do try to keep in mind how the
people I admire sound, and I find
that the way to develop tone is
to play, play, play, and practice
too, including scales and long tones.
Embouchure develops on its own,
unintentionally, with exercise.
My favourites as regards tone would have to be Tara Diamond, Pat Mahan of Easly, Sligo, Cathal McConnell, Ciaran Somers, and Conal O’Grada
Bill, I’m not suggesting the imitation of another’s tone as a substitute for discovering one’s own, but rather as a tool for learning to exploit the full color potential of the instrument.
To the list of tonally nuanced players I’d also add Desi Wilkinson.
While lateley I’ve been influenced by Paul McGrattan & June McCormack (as well as others in the “full bore” category), my favorite player continues to be Shannon Heaton - Some of you might know her from Siucra (www.siucra.net). If you ever get a chance to hear her or grab a lesson you’ll be blessed.
I’ll second what Jim had to say about embouchure developing itself… As long as you’re reaching for that ideal tone (up to the player’s influences and imagination), your embouchure should follow suit.
Cheers,
Reading this thread made me want to re-listen to J.M. Veillon’s CD, “Er Pasker.” He does have a variety of amazing tone colors. I also notice that he plays a variety of flutes on this CD: a Wilkes Rudall, Wilkes Pratten, Lehart E-flat, Rhiannon bamboo, etc.
But even within one track, he gets fantastic colors on any one flute.
Great listening!