Having developed a deep appreciation for my keyless blackwood Olwell over the last two years, I am placing an order for a keyed flute this month.
Keeping tabs on the viewpoints we have on the board and listening to myriad of sound samples and CD’s, I have developed a particular interest in a Hamilton or Grinter six key and have spoken with both makers. Of course, there is the maker Stephane Morvan that Slyvain Barou has found favor with, as well as, David M.'s medium holed Pratten…
I will appreciate any insight on key placement, wood, sound, overall personal wisdom, and/or general assitance you may wish to offer.
Dean - i don’t know if this is the type of input that you are looking for, but Noy makes great keyed flutes, and i would talk him into making a long foot.
i really love my Hammy, but did not care for his keywork that much (only played one).
good luck, eilam.
Nothing wrong playing the grand old classics like Mr. Migoya’s Pratten (and we’re talkin’ a real one here!). If you’re a little goofy, like me.
Some folks have had great success with antiques by having a more evolved headjoint made, as Terry McGee suggests (I wonder why ), and some folks can play the pants offa them stock. Nothing to lose by giving it a try.
edit: I’m just envious. My chance to buy that one turned into kitchen cabinets which, while practical, don’t sound nearly as cool.
Goofy - yes, most days - aren’t we all in our own way…
Olwell - most likely - I’m looking for the fine keyed instrument to spend my time with while on the list.
Any thoughts on Key placement - I tend toward a ‘half’ pipers grip for the right hand and tips for the left - I just don’t want my fingers to run into the blocks.
Any thoughts on Grinter and Volume - I can’t imagine a Hamilton being anything less than a very near relation to John Coltrane’s tenor saxophone.
I think it was Chris Laughlin, a few years ago, that compared the performance of his Grinter to that of a high end sports car.
Speaking of Olwell - I had the fine opportunity to see Matt Malloy and the Chieftans here in my current home base of Beaver Creek, CO - evening before last, sixth row center stage, at our small 500 seat theatre - the Vilar Center.
A remarkable evening highlighted by Matt Malloy, his cocus Olwell and a fine selection of solo jigs and reels. There was a nice ballad “Easter Snow” thrown in for good measure.
Before you put down thousands of dollars for a keyed flute, I would really encourage you to try out flutes from the makers you are considering. I realize that this is not always the easiest thing, but it is important. There are a lot of wonderful flute makers. Not all of them will be right for you.
The other thing that I would encourage you to think about is that a flute is not lacking in volume - it’s the player. Don’t rule out a flute maker because their flutes are supposedly quieter than other makers. There are plenty of great flute players who play Grinters. They certainly do not lack for volume because they have a focused a powerful embouchure. By the same token, Matt Molloy sounds brilliant whether he is playing the Olwell, a Rudall (as he did early on), or any other well made flute. Don’t exclude a flute because it is not referred to as a ‘honker.’ Good players can make anything project. Pick something that feels good to you and allows you to work towards the kind of tone you are looking for.
By the way, Easter Snow is an air that is pretty popular amongst flute players.
It’s recorded on a few albums. Off the top of my head, I think it is on Paul McGrattan’s first solo album. It’s also on Seamus Tansey’s album called ‘Easter Snow.’ I’m sure it is elsewhere as well.
I think this is a good rule for learning tunes in general, but particularly for an air, you should pick it up by ear. It’s really not that hard and since it is already in your mind, it will be even easier. The phrasing and feeling is what makes an air and you can’t get that from notation.
The tune website database structures make it a little harder to include notation of airs, as opposed to jigs, reels, etc. Airs tend to allow for considerable expression, and a different sense of time then the dance tunes. Paul McGrattan’s version is on the Beginish band CD (and Wooden Flute Obsession vol. 1). Correct about Tansey. Peg McGrath’s version is on WFO3, remastered from an earlier school benefit CD. Actually, Alan Ng’s site has the details of appearances here: http://www.irishtune.info/tune/3444/
I noticed the Doc has a redone (at least in headjoint) Firth Hall and Pond style.
Now all flutes being different, there are no guarantees. But I have a Hall and Sons (so similar style) which I had Jon C make a new head and barrel for. Wow is the word I’m looking for, so have a look at antiques too if you are so inclined, and maybe at the North American style of flute.
Terry also makes great reproductions, I had one till I got the original.
Always good to shop around before laying out a few thousand.
As a matter of fact, I am so inclined. I was suprised to see such a square emboucher cut on the head Chris made for the Firth,
Hall and Pond. I would have expected it to be a rounder cut.
I had a McGee GLP for awhile, until I got my 8 key up and running. It also had a square embouchure, and played beautifully. The headjoint, Jon C made me is rounder, and also plays very well. That rounded rectangle seems popular in small bore flutes.
Still, you might be able to make some arrangement with the doc to try the flute. FHP type flutes tend to come up to tune well with new headjoints, so you might save 1-2 k and get away with a nice flute too.
), and some folks can play the pants offa them stock. Nothing to lose by giving it a try.