I came across a very interesting email in which a person asked these questions. I thought they were interesting, so decided to post some of them on the board and hope that is okay with everyone.
Please name one professional flutist, recital or symphony, who plays a Plateau flute.
Please name any professional flutist that plays on a C foot.
Open hole versed closed hole.
The writers opinion on this topic is... saying that the tone is much better on an open hole flute because, despite technology, the pads on a Plateau flute do NOT accomplish the same sound as the human finger-pad does.
B foot verses C foot
The writer of the letter also states that ALL of the professional flutists they know ALWAYS endorse a Low-B foot joint. Why? Because that extra length of tube gives your low C a fuller, richer sound. Yes, very little flute literature is written which calls for the actual "low b" NOTE, itself. The writer then asked me to Again tell them the NAME of any PROFESSIONAL flutist who does NOT use a low B foot joint.The writer goes on sayting that I WON'T find any.
In line G verses offset G
The writer says that as far as in-line G, it has been demonstrated that the offset-G provides a different (and less desirable) tonal quality than an in-line G.
As always, I'm willing to share my thoughts, and they can be boiled down to two words: "How ludicrous!"
I'm glad you came across that e-mail, because I trust you to set that person right! Hahaha! It sounds like they've been reading way too much literature from flute makers and ridiculously uninformed flutists!
In line G verses offset G
The writer says that as far as in-line G, it has been demonstrated that the offset-G provides a different (and less desirable) tonal quality than an in-line G.
I dont think Thet Inline or ofset make diffrence, as long as your fingers are right length.
It doesn't matter one bit, Lera. If the airstream had a preference for which side of the flute it wanted to vent through, thumb keys, G# keys, and trills would have to be repositioned to the top of the flute to create an acoustically correct instrument, not to mention that foot joints would have to be either locked into the correct position somehow. The position of toneholes up and down the tube certainly matters, as that helps dictate pitch, but as long as a given tonehole is the right distance from the embouchure hole, it doesn't matter where around the tube it is located.
For all of you wannabe flutists, whom are "so accomplished", and are PROMINENT recital artists, with recordings in place, and/or are the PRINCIPAL flutists of a MAJOR symphony, I have only ONE thing to say:
After 40+ years of playing the flute --- and having played several different flutes, and having studied with PROMINENT flutists (some of whom are "household names") --- I can tell you that it is NOT MY opinion that counts --- nor your rantings about "this technical structure of the instrument" --- nor "that" nonsense" --- the final arbiters of just WHICH FLUTE IS THE BEST --- whether Plateau or French, and on and on, ad nauseum --- it is the PROFESSIONAL flutists --- those who have accomplished far MORE than ANY of you have done, who are the final judges, regarding "the best flute" --- the best "vibrato" --- the best "this, that or the other".
After all is said and done, I stand correct. The BEST flute is Powell. Period. The best flute is a solid silver flute with a low B foot joint, gizmo key and diamond springs. IF you REALLY can afford it, then opt for the Powell GOLD flute.
UNLESS --- and here I have to educate you juvenile flutists, who have been playing for two years and postion yourselves as "gurus" --- you are a SYMPHONY flutist. And guess what? NONE of you in this forum are.
IF you are a symphony flutist, then it is best to choose a solid silver flute or platinum flute, as they have a "sharper", more edge to their tone, which gives them the "projection" they need.
For recital artists, the flute of choice is GOLD. It has a more mellow tone, and is more suitable for chamber music recitals.
THIS IS NOT MY OPINION. This is what I have gleaned from having played the flute for more years than most of you have been alive --- and having studied under some of the great masters of our instrument --- which NO ONE IN THIS FORUM can claim to be --- a master of our instrument. PERIOD.
Let's put all of the nonsense to rest. NONE OF YOU are accomplished flutists. I hear of NONE OF YOU whom are recital artists nor symphony flutists. AND I KNOW MOST OF THEM. GOT IT ??? YOU'RE NOT ONE OF THEM.
I don't care care about your "geek" talk about "head-sets", this mechanism, or "this that or the other". I want to HEAR FROM SOMEONE IN THIS FORUM WHO IS A PROFESSIONAL FLUTIST, like those whom I studied under. IF you're NOT --- then your opinion is worthless. "Self-appointed guru, 'geek'
or however you position yourself, you are being DISRESPECTFUL AND DISHONEST with those whom are depending upon your "honest" (cackle, cackle, cackle) feedback.
I basically passed the email off as someone playing a joke. I could hardly imagine they were serious!
Yeah for C foots or feet. lol! I play on a C foot too sometimes as I like the lighter weight and to me it sounds lighter too on my flute. Might be in my head, but hey.. it works for me.
If no professionals played on closed holes or C foot then why do companies offer them? Hmm....
Isn't the whole b foot open hole thing mostly an american thing anyway? I do believe that those models are played in europe, but the frequency of closed hole and/or c foots is higher over there than it is here in the professional circuit. If I come across where I got that, then I will add it to the bottom of my post.
This guy is starting to sound a like like Phil. lol!!
<Added>
What are diamond springs?
<Added>
"I don't care care about your "geek" talk about "head-sets" Do you mean headjoint?
Really, lets just stop playing around. It is obvious that you haven't got a clue.
To come on here and insult all these forum members likes this is so wrong is so many ways! A lot of the posters on here go by different screen names and don't even use their real names. So how can you write a post in your high and almighty way saying that you know that no one on here is any good or professional. So you know everyone by their first and last name on this group? Professional? You? I hope not! With that sort of ego or behavior you should have never made it in the music industry.
If you want to talk to some flute Gods go join that Galway forum!
I find that I am a bit annoyed... well, quite frankly, !***!ed off at some of these supposed experts that come on our forum, make one or two posts, and quite rudely and disrepectfully treat established (and I might add accomplished flutists) members on this forum.
For all of you wannabe flutists, whom are "so accomplished", and are PROMINENT recital artists, with recordings in place, and/or are the PRINCIPAL flutists of a MAJOR symphony, I have only ONE thing to say:
Well I have something to say. Please don't be condescending or talk down to any of us. It's rude, and reflects poorly on you not only as a person but also as a musician. We are all quite nice, so at least we have that up on you. You don't know who we are, where we are from, what we have done, and where we are going. And I googled your name and didn't find it on any symphony roster, or even see that you have a webpage about your "great and superior" accomplishments.
After 40+ years of playing the flute --- and having played several different flutes, and having studied with PROMINENT flutists (some of whom are "household names") --- I can tell you that it is NOT MY opinion that counts --- nor your rantings about "this technical structure of the instrument" --- nor "that" nonsense" --- the final arbiters of just WHICH FLUTE IS THE BEST --- whether Plateau or French, and on and on, ad nauseum --- it is the PROFESSIONAL flutists --- those who have accomplished far MORE than ANY of you have done, who are the final judges, regarding "the best flute" --- the best "vibrato" --- the best "this, that or the other".
Wow... where do I start? Again, you're being quite rude and condascending. Not nice. But you read that in my previous paragraph. Um, just because you've played for 40 years, doesn't mean you're any good. And professional flutists, while perhaps biased and prefer certain makes of flutes, don't have a clear cut consensus on the best anything. That's why, in case YOU didn't know, there are so many flute manufacturers, so many options, and so many schools of thought as far as playing the flute and execution of articulation, vibrato, hell... even how to hold the flute!
Music, in case you haven't figured out in 40 years, is not an exact science and we are not cookie cutter robots. There are no black and white answers; it is very subjective. Yes, there is a lot we can agree on, and a majority of teachings tend to agree with each other, but there are many variations and wide spread opinions on a lot of things, instruments included. And guess what? That's ok. Really, it is. No need to get in everyone's face in such a hostile way.
After all is said and done, I stand correct. The BEST flute is Powell. Period. The best flute is a solid silver flute with a low B foot joint, gizmo key and diamond springs. IF you REALLY can afford it, then opt for the Powell GOLD flute.
Care to back that up with any evidence? Your opinion doesn't count; it's merely that. AN OPINION.
UNLESS --- and here I have to educate you juvenile flutists, who have been playing for two years and postion yourselves as "gurus" --- you are a SYMPHONY flutist. And guess what? NONE of you in this forum are
Your ignorance is blinding. And you're being condescending again. And actually, if you are a symphony flutist, then you're also being an elitist.
I really don't care to quote and respond to the rest of your outrageous post; I find it nauseating and I have better things to do with my time. I simply hope that if you actually continue to post on this forum, that you do it in a respectful manner, and also be able to back up your information if need be, and not claim your opinion to be the bible. I also hope if you continue your jibberish, the moderators step in and remedy the problem, which is you and the attitude you bring into your posts.
James Galway, whom appareantly you must have studied with, wouldn't even have your attitude.
Care to share and educate us pathetic flutists with your recordings or webpage of your flutistic accomplishments???
I'm going to take a bottle of midol now... I must be going...
Well "Jim", I am not a world famous flute player, but I have accomplished quite a bit, recordings, orchestral work in Europe, artist/clinician with a major manufacturer and you will see my name on the artist link page of Haynes flutes...
that said "Jim", I play an older Haynes with a c-foot,with a gold headjoint, most pieces that use a low b have an alternate for those of us dinosaurs who play a low c.
when I travel to asia or europe the majority of players play low c, as did Rampal, as do some very famous players these days...
Does William Bennet play a c foot, I believe he mainly plays a Louis Lot with an Albert Cooper gold head...etc. etc....
Are you using a stage name? can't find you on the net, nor for Chamber music society of Chicago, only the group that has players from the CSO, of course, that would not include you...
searching...
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