Sir James posted this on his list. It’s great. As always.
James Galway recently did a video where he played 16 of his flutes. He took out the color so there was no cheating as to what material the flute being played was made out of. I thought they all sounded great.
Here are the details of which flute was which.
- Lois Lot silver 10032
- Muramatsu silver EX 53320. / Muramatsu Pads
- A.K. Cooper 164 silver with a Haynes Head / Pads unknown
- Muramatsu all silver 14657 / Muramatsu Pads
- Muramatsu Platinum 44755 / C# trill Muramatsu Pads
- J.Brogger. 18k gold 555 with a Nagahara head. c# trill key and Straubinger Pads
- Muramatsu 18k gold 61700 / C# trill Muramatsu Pads
- A. K. Cooper 14k gold 188 (Berlin Phil flute) Left hand low C# key Pads Unknown
- Emanuel 18k gold 150 C# Trill key Pads unknown
- A.K.Cooper. 14k gold 197 Straubinger Pads
- Kanichi Nagahara 20k gold 550 C# Platinum riser
- Muramatsu 9k gold 64200 / C# trill Muramatsu Pads
- Muramatsu 14k 38220 Muramatsu Pads
- Kanichi Nagahara 18k gold 518 C# Trill key and Platinum riser
- Muramatsu 24k gold 60100 / C# trill key Muramatsu Pads
- Muramatsu 24k gold 55555 / Switchable split E and Muramatsu pads.
I’m curious as to why Sir James does not have a Powell nor a Haynes in his collection? Or even a Yamaha?
harry63 writes “I teach flute lessons in my community and I am having the hardest time getting my younger students (grades 7-9) to practice their long tones. Their finger technique is excellent, but their tone leaves a lot to be desired. When I ask them I get the “but it’s so BORING” response. I have tried explaining the importance, but they don’t think it is necessary. Are there any suggestions on ways to implement long practicing without giving them boring exercises?”
I’ve noticed that a lot of guys who are not “flutists”, ie: they play flute but it’s not their main instrument, use different headjoints to get better sounds. For example, I believe both Guido Fazio and Larry DeLaCruz are using Yamaha student model flutes (plated body, closed hole) with Sankyo headjoints. I haven’t ventured into this area yet, as I’m still using my Yamaha 581 with the CY (I think) headjoint. Though, anyone have any opinions on different headjoints?
suz writes “I have just embarked on the long slow boat to the land of a new flute. I’ve tried several this week; next week it’ll be several more I imagine. A used flute dealer and I had this rather thorough conversation about my playing ability, style and interests, and then he produced three lovely old French-made instruments for me to try. They were good flutes, but the wrong type of sound, I thought (I guess he and I were on different wavelengths). Frank Zappa mentioned that flutists and harpers have a bad look on their faces because of all this cloud and angel music they have to play. I am not playing cloud and angel music, though those French flutes would have been good for that.So my inquiry: I want EVERYONE’s opinion about brands, features, tone, and any other aspect of the instruments themselves as pertains to jazz. Thanks in advance!”
Ok, well, where to start. It really doesn’t matter what type of flute you get. It could be Yamaha, Geminhardt, Powell, etc, etc. What is important is the tonal qualities your seeking. Are you seeking a bright tone? Or a darker tone? Then you’d choose a flute that has those qualities in addition to good sturdy keywork, excellent intonation, etc, etc. It really doesn’t matter too much WHAT you play on as long as you like it.Personally, I like my Yamaha 581, though sometimes I wish for a darker, rounder tone. I’m afraid to try a Haynes or Powell or something because then I’d KNOW for sure that the Yamaha I have is not as good. Don’t get me wrong, I like my flute a lot. We have about 30 different stage shows that we’ve done together, along with some recording sessions, etc. It’s dependable, and durable. I just wish it was a little more flexiable.Some day I’ll get a Haynes or a Powell, but I doubt I’d part with the Yamaha.
Ashley writes “I just started playing flute again after a 2 year break without playing at all. I played in the Symphony in college and believe that my technique is still there (for the most part, at least), but I have completely lost my tone. Any suggestions on how to get it back fast?Thanks!Ashley”