This may be so basic that it explains why I am having trouble finding info on this topic…have a new to me M&E R & R 8-key, on a learning curve, and I’m trying to prevent learning bad habits I have to break later. I have or have looked at lots of fingering charts, that’s not an issue, I can find the notes, and I understand there are issues around venting some notes. I have the Larsen book, and my flute’s keys correspond to the layout in his fingering charts, but there is not a lot of info in the book about using keys (I have Hammy’s book in the mail and I’m hoping there is more info in that). I have spent considerable time trolling the archives here and on other irish flute websites and have turned up a lot of fascinating stuff, but not the basic info I’m looking for…for some of the keys, it seems like there are a couple of fingers that could be used. I’m coming from a whistle background, not a Boehm flute background.
I know there are different approaches to keywork but is there a standard basic protocol or standard for which finger is better to use for a particular key, or does everyone just use what works best for them? Are there any resources (books or online) that deal well with this area? There are only a couple of flute players I know of here in Cape Breton, I don’t think anyone is using keyed flutes (though I did learn last week a lovely keyless Hammy lives across the road from me), so I don’t think searching out a local experienced player is an option unless someone can tell me different.
Thanks very much…I had spent a lot of time on your site (hope to talk to you about a flute one day), and thought I had read everything, but completely missed that page. I’ll have to go back and see what else I missed.
The great thing about these flutes, from a research, making and a playing perspective, is how much more there is to learn. Anyone who is temporarily feeling smug and complacent has only to turn the next corner to be faced with a new world of challenges and fun. So settle back and enjoy the ride!
Terry, if it’s not a trade secret, reading your page of model options has me wondering which is the most popular. I haven’t been counting, but my impression here is that when someone posts a McGee for sale, it’s likely to be a GLP. I’m wondering if that’s because this is a model most likely to be purchased by a newbie who never really gets to grips with it, and sells it off later.
Certainly the GLP has become my biggest single seller. That’s perhaps not surprising though, as I think most makers do not offer a flute in this style, so if anyone wants one, they are fairly likely to come to me.
As to what happens later, I can’t tell in general, but I am aware of at least two scenarios:
some find the GLP perfect for their needs, and won’t be parted from it for love or money. The often cite ease of holding and blowing, and agility as the features that hold their attention. I know this as I get a lot of mail on this topic!
some find that they quickly make progress on their GLP that they were not making on other flutes, but once over the previously insurmountable barriers, they then find they can adapt to flutes that were previously well outside their capacity. They now have the freedom to make a choice based on the tone, balance of power and agility, etc that best suits their style, situation and aesthetics.
I have considerable personal sympathy with that approach. Back in the early 1970’s, I had an old, worn Prattens original that I could get nowhere on, so I chickened out and played the whistle and the metal flute. It wasn’t until I found a small holed German flute in good condition that I could jump the barriers. I soon moved up to a medium holed English flute (B&S Dulcet), and then on to flutes of my own making. Now I have no trouble with any (reasonable!) flute.
It reminds me that people are very different - some are “genetically predisposed to flute”, and some of us have to work up to it. There is no perfect flute, and what was your perfect flute some time back might or might not be your perfect flute in a few months time! I guess that’s why flute players so often swap flutes in sessions!
Whether any GLP owners fail to get it up at all, I don’t know - I don’t remember anyone ever mentioning it. I’d have to say if you can’t play a GLP (after a bit of trying), you probably won’t be able to play a flute at all. Definitely the easiest playing flute I’ve ever experienced. I only wish they had been around in the early 1970’s when I was struggling to drive a lacklustre German flute!
Certainly, if anyone is struggling with their current flute, they should definitely try a GLP or similar small hole, easy-blowing flute before dropping flute in favour of lawn bowls!
I look back on my collaboration with Grey Larsen* (that lead to the development of the GLP) with great satisfaction. I think we opened up Irish flute playing to a lot of people who were struggling, and added a new voice to the old Prattens or Rudall choice.