Hi all,
I’m a one flute girl usually and I have a Reviol flute which I’ve had for about 2 years and really like.. But I had the chance to aquire a Terry Mcgee keyless boxwood flute which arrived today. It’s lovely.. I don’t know if it’s better than my original flute or if my head is being turned by its blond beauty.. How long does it take to decide. I feel like I’m cheating on my old faithful with this new flashy arrival.. Advice please..
When you find that you have to force yourself to play the flute to keep it broken in it is time to sell it and give it a good home. Until then learn their subtle differences and appreciate their good qualities and differences.
I am getting to that point with my Healy fife.
It’s kind of like dating, it takes a while to find the right one, but once you do, why keep all the others locked in the closet?
Boy, that metaphor didn’t work out.
My 2 cents.
LOL!!! So THAT’s why I spent so much of my college years in my girlfriend’s closet! I just thought she had a thing for lurkers!! Apples and oranges, my dear. All good instruments have their ups and downs… I’ve just acquired a Bleazey and am busy comparing it to my Copley. They both have good points. I agree with the above…the time to thin the heard is when you stop playing one altogether…then your ear/heart has made the decision for you. Just don’t lock me in the closet again…shudder
Dave
But of course…
M 
My experience has been, play the new flute for six months. Almost exclusively if it plays significantly differently from your old flute. (probably not what you wanted to hear. 
)
Chas is about right, although I don’t usually go for 6 months.
Chas, I think that I will have to disagree with you. My personal experiences are different than yours, but then you are more experienced and I play the fife primarily.
This is my expereance…
(WARNING: I am not all that good of a fife player and in no way are my comments worthy of being criticism of the fifes that I am going to talk about!)
I purchased a Healy deluxe fife. It has a square rounded embouchure and a taper in the head joint. It has a tuning slide and so it can have its pitch adjusted. It plays all three octaves beautifully (well up to the highest note that I can hit “B3”) It is very forgiving of a sloppy embouchure and will allow you to play in tune easily. It has a rich dark tone (I define this as stressing the lower fundamental tone rather than the brighter side of the tone, does that make sense?) The tone holes are huge and allow for nice half holing when you are doing fancy music. It loves to be played loud.
Then I bought a peeler fife. At about 1/3 the price, it had a small round embouchure that although very flexible, made it difficult to hit the right note. While the second and third octave are easy to keep in tune, the lowest needs lipping, bending, etc. to make it sound right. The holes are smaller so it is better to “bend” the notes to make it sound right. So half way through a passage you have to roll in and then roll out. Add to this that the instrument is relatively narrow bored and you have a very “bright” (by this I mean it stresses the higher tones of a note) sound. It is one piece, so the only way of adjusting it is by bending notes and adjusting the cork.
What happened next is obvious, after the first week with the peeler fife, I have only played the Healy fife for maintenance. I do not think that it will take 6 months of playing it exclusively, if it is the right flute, it will happen on its own.
PS to oreganem Please take my suggestions with a grain of salt, I am not a professional player. I’m just giving you my opinion.
OK, I’ll bite in it…
So why are you favoring your Peeler fife when it seems that the Healy is a superior instrument? 
i can’t give an opinion on the Terry McGee , as iv’e never played one
but i am curious as to how you are getting on with your Maurice Reviol flute .
for those who don’t know him ,he is pretty much a new boy on the block , and his key work is interesting . slightly science fantasy .
so , as you have it 2 years , what’s the story ?
what wood is it made of ? is it keyed , or not ?
i have a blackwood , keyed , which i got from him , about 2 years ago and only now is it beginning to open up . ( or maybe i’m just geting the hang of the new Michelle Pfeiffer emboucher )
it’s a totally different approach , to Martin Doyles ( which play under water ,under pressure , under instructions , under the weather , unter den linden ,etc. )
i find it , the Reviol ,has a serious bang on the bottom D , G , but breaks on the B . not unlike the way a pipers back D breaks or warbles
and as for the third octave , it’s coming along nicely . and my ears are still ringing from the third oct. A
overall , though , these things happen ,only when the instrument is pushed .
so , anyone out there with a Reviol , and how are ye getting on with it ?
Yeah, six months may be the exception rather than the rule. That’s about what it took for me with a couple of flutes toward the beginning. I think it’s a good thing to shoot for, but often you can tell a lot sooner. The Bleazey and Olwell, I could just tell right away that they both were just extremely good fits for me. The Hammy and Copley, I was absolutely blown away by the sound of both right away. I gave the Copley a good six months, and the Hammy close to that, but never got the hang of the bottom end of either.
I’m not experimenting with flutes any more. The last few I’ve gotten haven’t been from hunting and pecking for a flute, they fill roles. So I haven’t given them their months of almost exclusive play, but will play one type of music for a few days, another type for a few, and I sort of rotate through flutes that way. I probably oughta give the Noy a couple of months straight. I noticed last night that I’m just not getting the sound out of it that I know I should. Fortunately, it’s good for just about any type of music, although in my hands it’ll never touch the Olwell for playing jigs and reels.
Monogamy is a call of certain desert faiths
whereas flutes hark back to lush bacchanalia
Jim Troy and Chas’ last post, I think, lead to something that is often overlooked, or at least not discussed much here: The fact that flutes are somewhat purpose built, and so are embouchures - not the holes, yours. Thus, expecting certain things from certain flutes (expecting a Noy Flute to hang with a Hammy in terms of Hardcore ITM sound volume, or expecting a Hammy to have the intonation to play and dynamic range of the Noy), or certain things from oneself (expecting to be able to hop from flute to flute, and from musical genre to genre with authenticity and consistency), is just not realistic.
If one simply derives pleasure from having a wide palette of tonal colors available, and one enjoys playing a bit of many different styles of music, then no problem at all. However, it seems that many times all the flute hopping here stems not from satisfaction and the desire to widen one’s choices tonally, but rather from the frustration that despite all the instruments owned or tried, people can’t get the tone, and perhaps volume and intonation they are looking for in any one genre.
In the case of the latter, continually jumping from flute to flute every few months, or playing radically differing styles from day to day, is going to exacerbate the problem. I think if we look at vast majority of players who have developed any significant skill on the instrument (even if they play several styles or genres well now), they first started by “mastering” one genre, more or less sticking with one flute for long periods.
This really makes sense, particularly when you think about how different these flutes can be, even among flutes built speficically for ITM. I’ll use the example of Olwell Pratten and Murray flutes, of which I have one each. Both are, “on the surface” very similar instruments in terms of volume and having the capability for the Hard Irish Tone. Both play about as easily, and both are more “versatile” in terms of tonal colors than some.
In fact many people will pick-up a Murray, and then an Olwell, playing them back to back, and comment more on their similarities in tone and playability, than their dissimilarities - the gentleman who bought my Cocus Olwell (A fairly skilled Irish player I am told), initially sounded a bit surprised with the Olwell when he got it, saying to me something along the lines of “It’s not very different from my Murray”.
That said, the embouchure cut angle on the Murray and the Olwell, are very different - one being more than a few degrees sharper in the angle of the cut, and so requiring different things lipwise and also in terms of how the head is rotated or positioned on one’s chin. In addition, the intonation is radically different, as the top two holes on the Olwell are placed “much” higher (closer to the embouchure) than those on the Murray, which significantly affects a number of the notes, and so, affects the overall scale of the instrument, and what one needs to do to play each instrument in tune.
I’d certainly not say one flute is better than the other, as both are absolutely top notch, and both have their merits, and corresponding, compromises, however switching back and forth between the two, does NOT lead to improved consistency of tone and intonation over time, rather it simply slows down the process of developing in those areas, and as such, I’ve had to simply put one aside (no offers to purchase thanks.)
I know some will argue that they “Believe” switching flutes is making them more versatile and causing them to improve, but I’d suggest that typically, these players are not players who have really fine tone and intonation (not an insult, we all struggle with these things), and as such, really aren’t in a position to say, nor do they know how far they would have progressed in these areas to date if they had stuck with one flute.
Again, I’m not saying that there is anything wrong with taking one approach or another, I’m simply suggesting that if one is obtaining new flutes with the intention of improving their sound, or if one has a bunch of flutes and plays them all, or constantly plays differening types of music, and finds themselves unhappy with their sound and intonation, then there may be a reason for the frustration that has as much to do with all the flute and/or genre hopping as anything else.
If on the otherhand one derives their flute playing pleasure primarily from the owning and playing of many flutes and styles, then that’s great too, I’m not knocking that at all. 
I’m simply making an observation for those who fall into the other category, myself included.
In addition, it really does make sense to buy a flute that is built specifically for a particular type of music: Buy a baroque flute from a reputable baroque maker if that’s the music you want to play. If you want to play ITM, then I’d suggest buying a flute from a maker who’s focus is firmly on making flutes specifically suited to the music: All things considered, it’s no surprise that Hammy’s flutes perform so well for ITM, ditto with Olwell, and Murray, and Cotter, and so on. There are other makers out there, who, while they make instruments styled after “Rudalls” and “Prattens” etc, their focus isn’t on flutes for ITM, nor is their own playing, and as such, often one won’t get the sound they are looking for.
Likewise, if the “Hard” ITM sound isn’t what you’re looking for in your own playing, don’t let popular opinion sway you to spend a ton of money on a purpose built ITM flute, because it will likely be unsatisfying for you, for a variety of reasons. There are plenty of European and several American makers producing really fine “middle of the road” flutes that can give you a better experience.
Finally, there’s the issue of older flutes, with all their intonation and baseline (not made for A=440) tuning issues: Does it really make any sense to make one of these the flute that you learn and develop on? While some may be wonderful peices of workmanship, and fine bits of history, well worth owning for these reasons alone (if you can afford to), I’d suggest they are not the way to go in terms of choosing an instrument for early development, or even over the long haul - why make life more difficult for yourself, it’s difficult enough to learn to play a modern “in tune” simply system flute and get the intonation spot on, why complicate the process by using a tool that makes the job more difficult?
Alrighty then, I’ve got my fireproof swim trunks on (we’ve finally got some warm weather here in New England), as I anticipate heat from all corners on this one. However I must say, unfair as it may seem, that I’ll be slipping out the backdoor here in the next few days, likely not to return much for a while, as I have a number of things I really must focus on, plus I expect to be spending much of my free time outside, enjoying the all too short summer. So, I hope everyone has a fantastic and safe summer, and happy flute playing to all!
Loren
Very good post, Loren.
Sometimes I think long waiting lists are a blessing in disguise for some of us. A year and change into my flute-playing, I have nowhere near what I’d consider a stable embouchure. But I’d guess that it’s more consistent than it would be if I had a new flute every four months, instead of one serviceable workhouse.
Well said, Loren. I don’t think you’ll need to don the asbestos suit.
Regarding bouncing from flute to flute looking for one that makes you sound better, when I first got into the whistle thing, I was doing that. After awhile, though, I realized that the sound I was looking for wasn’t due to the whistle, but to the player. Then I started looking for the “perfect” whistle. And I discovered that there isn’t a perfect whistle, but there are many different very good whistles with very different sounds.
I didn’t do the same thing with flutes. I did, however, look for a flute that I found easy to play – i. e., a flute suited to my embouchure. And I did stick with that one exclusively for at least a year. That (Bleazey Rudall) may have spoiled me for Prattens, but then, maybe I was never suited to Prattens in the first place, and have naturally gravitated to small-holed flutes. I certainly am having no problem adjusting from Rudalls to traversos, which I think is at least as big a jump.
Not superior, different. The Peeler fife has an embouchure that is small and makes you focus. I was stuck at the third octave “F” for the longest time with the Healy, and the Peeler, although more of a challenge initially, has developed my playing greatly.
I found that I enjoyed playing the Peeler fife more. It sounds bright, you don’t have to play with the moving parts, it plays the notes I want to hear.
Sorry I don’t have a real answer.
PS great post Loren.
Blondes have more fun. 
djm
Loren, you’re spot on.
Thanks for all the advice.. I got my first flute about 24 years ago, and have had 5 flutes in that time, with a seven year gap (university induced insanity).
I can’t really manage two flutes at a time I find I end up no good on either and get frustrated. But with the last change over the difference in the flutes was really obvious so the decision wasn’t difficult.
About my Reviol, it’s a keyless rosewood flute which I really like it’s a great workhorse flute solid and reliable. It doesn’t have too many cranky days and is quite forgiving about lack of practice. However the bottom D isn’t fantastic (it might just be me) but I’ve heard Kevin Crawford play one and get an awesome sound, it just doesn’t zing for me!
I think it’s me though, I’m not playing beyond the level of the flute and wouldn’t have considered buying another one for a few years yet.
Already it feels like the Mcgee might be a better fit so I think I’ll have to commit to it for a while ( six months sounds like a good length) and leave my old faithful on the shelf.. I feel guilty about it though. And boy will it sulk if I have to go back to it eventually..So much emotional investment in a piece of wood!
I agree with you very much. Although, I think a lot of Flute hopping is due to people looking for the Flute with the sound and playability they want. If everyone could just go out and try a bunch of differet Flutes, I doubt this would happen as much.
I do find that with Whitles I have a lot for different occasions, but with Flutes it is the opposite. I have one Flute that is my main Flute and one travel Flute and some in other keys. I find that on any Flute one has the ability to experiment with the sound. The best players can get a Hard ITM sound out of a Noy and get the tonal colors out of a Hammy, but that takes years. Loren, your post pretty much sums it up.
I think people will sometimes stick with a Flute because of the name stamped on it. I know a player here and there playing a Flute with a name like Olwell, Wilkes, Murray, etc. who could do better on a different Flute. It is obvious in their tone and projection, that they are not playing the instrument in the way it is intended to be played.
Does this mean that they could immediately perform better on another flute or that they lack the skill to play the flute it was intended altogether? Would the problem you described be solved by swapping the flute or by putting some more effort into getting to know the one instrument a person has invested to?