Rudall carte flute dating russell simmons dating 2016
The fact that throughout my development as a flute maker, I was also a practising flute player and more importantly, flute teacher, I see as probably the most important influence on the way my flutes developed.
Initially happy with being able to turn out instruments that were at least in the same ballpark as the old flutes, I gradually became dissatisfied with various aspects of them. In playing with the tight embouchure required to produce the type of tone that Irish players preferred, I had noticed that over the years, as my embouchure developed, I was having to extend the tuning slide more and more to stay at modern pitch.
The answer to these questions was the essential step in moving away from the classic eight-keyed flute to what is now generally known as the Irish flute.
Firstly the instrument was resized, allowing a good response at modern pitch.
Would the old makers have built this feature in, and then intended the flute to play at a pitch that ignored it? Secondly, and more powerfully, was the fact that from the players point of view, all were agreed that at this modern pitch extension, the flute lost much of it’s response and tone quality.
I think you have only the "Small Flutes" (Band Flutes) entries.
The terminology of the 19th century flute, in the sense of the association between certain makers and their designs, and the perceived results of those designs for the player, remain with us today in the insistence that players have of designating almost all new flutes as either being of the Rudall & Rose or Pratten’s Perfected type.
Although this is useful to some degree in helping people understand what to expect from different flutes, in terms of my own instruments, it is not so relevant.
Besides the pitch issue there was the matter of the tuning of the scale when played with traditional “whistle” fingering.
In some ways this internal tuning was suitable for Irish music, in that the flat Fs and Cs were also approaching the pitches chosen for these notes by traditional fiddle players and pipers, but those notes, combined with a notoriously flat bottom D and sometimes a sharp A and B, were amounting to a rather large problem in the modern era of playing with instruments in tempered tuning.