wood flutes that are easy to play

eedbjp · Post by **eedbjp** » Sat Mar 04, 2006 4:52 pm

I've owned a few flutes, mostly synthetic. I've owned 2 wooden flutes, both of which I had a really hard time with. I don't want to mention the makers though. I play a lot of instruments, so I probably don't spend enough time on the flute, so I know it's my own skills. But with that said, which wooden flutes have are noticeably easier to play. Low breath requirements, smaller holes? Just plain old easier? I don't care if there's a tuning slide or rings even. I just want to play with people, consistently, and easier. Any suggestions?

Bretton · Post by **Bretton** » Sat Mar 04, 2006 6:00 pm

I've found Casy Burns' flutes to be very easy to play.

I haven't had the chance to play one, but based on descriptions by many people, Terry McGee's Grey Larsen Preferred model might also be something for you to check out (small holes and low breath requirements).

-Brett

1000

jim stone · Post by **jim stone** » Sat Mar 04, 2006 6:23 pm

Dave Copleys flutes are easy to play and have
good tone and good volume. They are very well made.
Also if playing with people is a priority, a tuning
slide is a good idea.

Doc Jones · Post by **Doc Jones** » Sat Mar 04, 2006 7:07 pm

McGee GLP
McGee Rudall Refined
Burns
Bleazey (quieter flute but easy)
Dixon Three piece polymer (not the PVC one)
Olwell "Rudall"

I agree with Jim that Copleys are quite wonderful and "easy players" due to excellent embouchure cutting, but I'm not sure they best match your breath and stretch requests.

Also there are several makers that will off-set holes upon request. Casey Burns is, of course, king of ergonomic offset holes but many others will do it as well.

Doc

jim stone · Post by **jim stone** » Sat Mar 04, 2006 7:51 pm

Doc Jones wrote:McGee GLP
McGee Rudall Refined
Burns
Bleazey (quieter flute but easy)
Dixon Three piece polymer (not the PVC one)
Olwell "Rudall"

I agree with Jim that Copleys are quite wonderful and "easy players" due to excellent embouchure cutting, but I'm not sure they best match your breath and stretch requests.

Also there are several makers that will off-set holes upon request. Casey Burns is, of course, king of ergonomic offset holes but many others will do it as well.

Doc

The McGee GLP is a swell and easy playing flute, no question.
(Check The Irish Flute Store).
I don't know the McGee Rudall refined, but doubtless
it also fits the bill. Casey B's flutes do too. No question
about the Olwell Rudall, but getting one may take
a long time. Bleazeys are getting mixed reviews,
and the Dixon Polyer isn't something people
stay with a long while, IMO; I've owned two.

Casey B is undoubtedly the king of ergonomics.
Dave C will do them too.

If the poster has small hands or special needs in
that direction, small holes etc are a good idea.
Casey B makes great small-hands flutes.
Otherwise the Copley is no problem. As to air,
once one has an adequate embouchure,
which sooner orlater one must get or not be
able to play, air will be no problem--at least not
with any of the flutes we've mentioned.

Again, if playing with people is a priority,
volume matters.

chas · Post by **chas** » Sat Mar 04, 2006 8:33 pm

It would really help to know which flutes you've owned and what your problems with them have been. There's absolutely nothing wrong with saying that you've had difficulties with a particular maker's flutes. It's not the same thing as saying that maker doesn't make good flutes. I've voiced my difficulties with several makers' flutes, but I view it as my problems, not theirs. You seem to be indicating the same thing.

That said, I've owned all the flutes mentioned except the McGees. I would recommend the Bleazey Rudall model, or if you have a year to wait, the Olwell Rudall. I haven't played a Hoza, but his flutes are supposed to be similar to Bleazeys. The thing about the Bleazey is that it has a thick head, and therefore a tall chimney. This makes the player's embouchure a little less critical. (The McGee eccentric head has this too.) When I was beginning, I had a Burns and a Schultz, both of which I found difficult to play, before I got a Bleazey. The Bleazey is the only reason I stuck with the flute. It's not my go-to flute now, but I still play it quite a bit.

Jumbuk · Post by **Jumbuk** » Sat Mar 04, 2006 9:13 pm

As always, pre-post information: I have been playing for just under 12 months, but that does make me eminently qualified to talk about ease of playing at the beginner level.

I have only played three flutes - Sweetheart keyless, Sweet 6-key in blackwood and Casey Burns Folk flute. I was surprised last November - the Burns was significantly easier (for me) to get the low notes. I speculated in another post why that might be. The tradeoff was that the second octave is harder (for me) on the Burns.

This does change rapidly. Just recently, I hit the "Sweetspot" consistently on the Sweet 6-key, and it is actually now very easy to play, especially the second octave. It is also easier to blow in tune than the other two.

So I think that at the beginner stage you can make greater leaps in ease of playing and sound quality by just working on your embouchure with a single flute than you can by swapping around.

talasiga · Post by **talasiga** » Sat Mar 04, 2006 9:25 pm

Doc Jones wrote: I agree with Jim that Copleys are quite wonderful and "easy players" due to excellent embouchure cutting, but I'm not sure they best match your breath and stretch requests.

.....

Yes, I don't have experience with this flute but I know that "embouchure cutting" is pretty critical. Despite my experience with many flutes I don't have thhe technical nouse to discuss emb. cutting usefully to explain those dfferent experiences.

Can we have some more comments on embouchure cuttings from makers and players with knowledge? I would appreciate it.

Doc Jones · Post by **Doc Jones** » Sat Mar 04, 2006 9:47 pm

jim stone wrote: The McGee GLP is a swell and easy playing flute, no question.
(Check The Irish Flute Store).
I don't know the McGee Rudall refined, but doubtless
it also fits the bill. Casey B's flutes do too. No question
about the Olwell Rudall, but getting one may take
a long time. Bleazeys are getting mixed reviews,
and the Dixon Polyer isn't something people
stay with a long while, IMO; I've owned two..

Neither the Bleazey nor the Olwell Rudall, nor teh Dixon will cut it in a session volume-wise.

jim stone wrote:Casey B is undoubtedly the king of ergonomics.
Dave C will do them too`..

An offset Copley shouldn't be a problem at all then. Nice tooters.

jim stone wrote: As to air,
once one has an adequate embouchure,
which sooner orlater one must get or not be
able to play, air will be no problem--at least not
with any of the flutes we've mentioned...

This is an excellent point and very true. The McGee GLP has remarkably low air requirements and remarkably good volume. I'm always surprized how much punch I can get from such a small bore and those dinky little holes. The rascals are just a blast ot play.

jim stone wrote:Again, if playing with people is a priority,
volume matters.

Yup,

OK revised list for volume and ease:
(not in any special order)

McGee GLP
McGee Rudall refined
Burns
Olwell nicholson offset (does he do that?)
Copley offset

plus several others I haven't thought of at the moment

Doc

Disclaimer: Doc Jones sells flutes and probably shouldn't be saying nice things about flutes. Any nice things he has to say about flutes he does sell may be motivated by greed, avarice, and shameless capitalism. Or, it may be that he has one and just really, really likes it. THis post may or may not represent the opinions of other board members who are not hacks like Doc Jones. This post has not been approved by the FDA. Keep out of reach of children. If a rash occurs please discontinue reading this post and consult your physician. Not to be taken internally. This post may not be used as a flotation device. VOid where prohibited.

Hoovorff · Post by **Hoovorff** » Sun Mar 05, 2006 7:59 am

Doc, you mentioned that Olwell Rudalls won't work in a session--not true, at least for me. My boxwood all-wood Olwell Rudall is louder in a session than my lined Copley. But, the Olwell doesn't have a tuning slide, of course, so that can be dicey in a session.

Just my experience, Jeanie

chas · Post by **chas** » Sun Mar 05, 2006 9:26 am

I was gonna say the same thing as Jeanie. My Olwell Rudall in boxwood with an unlined head definitely has as much volume as my (former) Copley with a lined head. And as much as my Olwell Nicholson.

Doc Jones · Post by **Doc Jones** » Sun Mar 05, 2006 11:00 am

Hoovorff wrote:Doc, you mentioned that Olwell Rudalls won't work in a session--not true, at least for me. My boxwood all-wood Olwell Rudall is louder in a session than my lined Copley. But, the Olwell doesn't have a tuning slide, of course, so that can be dicey in a session.

Just my experience, Jeanie

chas wrote:I was gonna say the same thing as Jeanie. My Olwell Rudall in boxwood with an unlined head definitely has as much volume as my (former) Copley with a lined head. And as much as my Olwell Nicholson.

Well there you go.

Another thing to remember is that each player is very different. I recently sold a flute to a person that had trouble getting good tone and volume out of several flutes she tried...flutes I could really honk on and were, for me, perfectly in tune...but she really clicked with the most recent one. The flute is such a personal, intimate instrument that every individual's mileage may vary.

The Olwell Rudall I had was a lovely, sweet thing but didn't have near the punch that some of my other flutes have. Fantastic flute though. Also bear in mind that when I say "session" what I really mean is "SESSION". When I'm playing with the family band I have serious power requirements. Mom on the squeeze box, 3 or 4 fiddlers, a mandolin and a couple of guitars, a bodrhan and a bass, whistlers, a keyboard etc etc.... You get the idea.

I think the take home message is that the best and only way to really evaluate a flute is to play it for a while.

That's not to say it isn't good to get advice in venues like this one, it's just important to understand that we don't know nuttin'.

Doc

chas · Post by **chas** » Sun Mar 05, 2006 12:04 pm

Doc Jones wrote:
The Olwell Rudall I had was a lovely, sweet thing but didn't have near the punch that some of my other flutes have. Fantastic flute though. Also bear in mind that when I say "session" what I really mean is "SESSION". When I'm playing with the family band I have serious power requirements. Mom on the squeeze box, 3 or 4 fiddlers, a mandolin and a couple of guitars, a bodrhan and a bass, whistlers, a keyboard etc etc.... You get the idea.

How's it going with that Hammy?

jim stone · Post by **jim stone** » Sun Mar 05, 2006 1:01 pm

I have an Olwell all-wood boxwood Nicholson (i think)
which is quite lovely. It seems as loud as the Copley
but I find that when there's a good deal of volume
it doesn't project as well as a flute with a lined head.
So I play sometimes with a hammered dulcimer group
and it doesn't cut through. But maybe it's me.

I would like to play a Hammy, which is supposed to
have terrific volume but has only a partly lined head.
So far....so far...my experience is that lined heads
project better, FWIW.

chas · Post by **chas** » Sun Mar 05, 2006 2:45 pm

One thing with an all-wood boxwood flute is that its sound isn't going to be very bright. So it definitely would get drowned out by hammered dulcimers, which are damn near the brightest instrument on earth. A lined head is always going to make a flute cut through better, especially in a case like that.