Bamboo flutes taken seriously

[Sirchronique]

Sirchronique wrote -
"Patrick Olwell sold new bamboo flutes on eBay no more than two years ago, I think. So, if he stopped making them it wasn't too terribly long ago."

I think, if memory serves, that it's a good deal longer than two years since Patrick regularly sold these bamboo flutes in his range. I suppose the ones that you mention could have been a couple of one off's.

They may have been. I do remember they looked differently than mine, as they had blackwood plugs on the embouchure end of the flute, whereas any of them I've played were entirely bamboo.

[janmarie]

I recently bought a Barna Gabos bamboo flute in E. I also own an Olwell. Really enjoying them both equally. Love the difference. Don't know why bamboo wouldn't be perfectly acceptable for ITM.

[TWO TOOTS]

Sirchronique wrote -
"Patrick Olwell sold new bamboo flutes on eBay no more than two years ago, I think. So, if he stopped making them it wasn't too terribly long ago."

I think, if memory serves, that it's a good deal longer than two years since Patrick regularly sold these bamboo flutes in his range. I suppose the ones that you mention could have been a couple of one off's.

They may have been. I do remember they looked differently than mine, as they had blackwood plugs on the embouchure end of the flute, whereas any of them I've played were entirely bamboo.

Good memory Sirchronique ! I seem to recollect these being sold as a couple of " Specials. " For the Star Prize do you remember how much they fetched ? I imagine it will have been a tidy sum.

I must admit I like the look and finish of Barna's bamboo offerings, and the integral slide he makes on some of them is a nice touch.

janmarie, It would be very helpful if you would be so kind as to give us an appraisal of your Barna bamboo in E. Is it equipped with the separate head and tuning slide or is yours the one piece flute for example. Can you draw a comparison with your Olwell ?

[nohoval_turrets]

I've owned a few bamboo flutes over the years, including some Olwells which I later sold.

They're nice flutes to play for yourself, but tuning issues do come to the fore in groups. First off there's the fact that they aren't tunable. They can be lipped of course, but to play in tune with others often requires them to be played out of the optimal tonal zone. Then, as others have noted, the second octave tends to be out compared with the first, so more lipping again is needed.

For these reasons, and some em... financial issues... I sold them.

[jim stone]

FWIW, I'm not running into tuning problems. Perhaps it's because the ensembles in which I'm playing my Olwell A aren't playing ITM. I agree that it take some control at the top of the second octave, but I guess the solution to this is a powerful embouchure. I can play softly and in tune. Also, as everybody involved has electronic tuners, the absence of a tuning slide is no problem.

[Nanohedron]

I guess the solution to this is a powerful embouchure.

I'd steer away from such a generalisation, for that kind of guesswork won't help you. Rather, so long as you have a good flute, the best buccal solution is a relaxed, flexible embouchure. I'm not saying anything new, here; this is old hat. Without being relaxed you can't really control your focus well; any power we detect is simply the end result of focus, not a matter of applying force. It's just ... tactical positioning, really. No power required to get there.

Watch any top fluteplayer's face closely; they're not forcing or powering anything. They're not blowing into their flutes; they're breathing (robustly, perhaps, but breathing) into them. Not blowing. Breathing. There's a fundamental and very real difference.

The feeling in the average act of blowing out a candle centers on the buccal cavity and the lips, but commonly the result is comparatively unfocused because the mouth and lips are unrelaxed. Instead, breathe into the flute out from the bottom of your chest (or lower, if that works for you), keep an effortless and open throat, all the while feeling the breath and letting the lips feel almost secondary in importance; that will help relax the mouth so you can get around to the real meat-and-potatoes of focus.

Just my two cents; it worked for me.

[jim stone]

Thanks for the suggestions. I've been playing two hours plus everyday for a long time, and once a week for four hours on the street, and I'm having a different experience. I'm finding my embouchure solves lots of problems.

[Nanohedron]

Just being the Loyal Opposition, here. For me, the less effort, the better. People need to know that there's more than one way to skin a cat.

[jim stone]

Good for you. Also I approve. I've always hated cats.

[Nanohedron]

They can be gnarly. The owners, too. Mine and I have an agreement to be each other's emergency food source depending on the course of worsening circumstances.

[janmarie]

Two Toots,
Considering I am a student of the flute I won't say much. At my level I find the Olwell to be amazing of course.The Marroncito ( the name Gabos Barna ) puts on the flute ) plays with equal ease and expression. It does not have the power of the Olwell. Tuning is excellent on my flute. The tone is different ( delightful to me ) from the Olwell and is very flexible and fun to play with like the Olwell. They compliment each other. It is two pieces.The tones holes are considered large by some. Not me. I bought it to play French Canadian tunes.

[TWO TOOTS]

Thank you for sharing your impressions about your bamboo flutes janmarie. I have been considering buying one of Barna's flutes, and it is helpful to get an independent appraisal. As you mention, the tone holes are a fair bit larger on bamboo flutes, but like anything else, become no obstacle with a bit of practice. The light weight and simplicity of these instruments bring their own charm.

[Sirchronique]

Good memory Sirchronique ! I seem to recollect these being sold as a couple of " Specials. " For the Star Prize do you remember how much they fetched ? I imagine it will have been a tidy sum.

I am not 100% certain, but I think it was around $600-something or so, unless I am imagining things.

[janmarie]

You're welcome Two Toots. I would like another one as well.

[bradhurley]

Watch any top fluteplayer's face closely; they're not forcing or powering anything. They're not blowing into their flutes; they're breathing (robustly, perhaps, but breathing) into them. Not blowing. Breathing. There's a fundamental and very real difference.

Any top classical fluteplayer, maybe.

I think the only Irish flute player I've seen with a relaxed James Galway-style embouchure is Shannon Heaton, who I think originally played classical flute. She gets a great tone out of her flute, of course, but plenty of Irish flute players get an equally great tone using the tight "smiling" embouchure frowned upon by James Galway, and they can play all night.

As you say, there's more than one way to skin a cat: the traditional embouchure used by thousands of Irish flute players works just fine; if a relaxed embouchure can produce the same tone that's all well and good, but it doesn't make it "better" unless it confers some special benefit. In theory you should get less fatigued and have more stamina with a relaxed embouchure, but I haven't seen any evidence to support it: I've been in all-night sessions with Irish flute players whose tone at 4am was just as good as it was at 9pm.