So Flute

SO Home flutes boast slender, elongated stems and bubble bowls that comfortably cradle in your hand during conversation. Our wide-shaped, open design allows champagne to breathe and optimize the aromatic performance. This set is will stand out as a favorite wedding registry gift, housewarming gift, bridal shower gift, retirement gift, or addition to your personal glassware collection.

So Flute

Download Zip: https://www.google.com/url?q=https%3A%2F%2Fjinyurl.com%2F2ufeh7&sa=D&sntz=1&usg=AOvVaw1Sy8WRr6JKgJJVS74c-I7u

Dr. Boyle treated Todd before Todd died in 1852 at age 60, at which time he was in considerable debt. It is possible, but not certain, that Todd willed the flute to Boyle in payment for medical services.

Dear Rob Turner:Thank you for your response and interesting observations regarding the Madison flute in the Dayton C. Miller Flute Collection at the Library of Congress and the related blog post. In addition, we wish to thank you for your contributing work and very fine recording you made on the flute, as it answers the question we receive most often: what do the glass flutes sound like?

Over the past few years, we have been studying the flutes by Laurent and his workshop so that we might learn more about the provenance of this particular flute as well as the history of how glass flutes were made in the early 19th century. This was conducted through archival research beginning in the summer of 2014, when we also commenced scientific research on the 18 flutes of glass in the Miller Flute Collection. To learn more about the historical research into the provenance of the Madison flute, we refer you to (www.loc.gov).

In summary, after research in Paris and the regional archives of Haute Marne, Aire de Lys and Sucy en Brie, as well as the Library of Congress Madison Papers and the Dolley Madison Digital Edition at the University of Virginia, we were able to rule out some speculation, information and other stories to posit that the flute was no doubt made for Madison (although the original packing and case are missing) given the 1813 Madison timeline that we recreated from our archival research. We leave it to future researchers to track down shipping logs or records of Paris vessels, an avenue that we have suggested but not yet pursued.

In our ongoing studies, we have carefully examined in person approximately 50 of the approximately 185 extant flutes by Laurent and his workshop, either at the Library of Congress in our Preservation, Research and Testing Division with flutes from the Miller Collection or those brought to us by private collectors, and outside the Library at museums and collections in the U.S., the U.K. and Europe as a part of our multiyear National Endowment for the Humanities grant to study glass stability.

Really? Can anybody get to play that flute?The answer obviously is yes. As long as you do it publicly as you show your absolute disdain for American history/culture.Talk about cultural appropriation.

The LoC is doing the right thing by helping history come alive and making it accessible to Americans whose ancestors were in chains when the flute was gifted to Madison rather than burying it in a book or the basement of a museum

Dear Sir/ and or Madam, would you kindly advise me if the flute that Lizzo recently played on stage was potash glass or high-leaded glass (Crystal). Also would you please be so kind as to inform me if you know with certainty that the flute she played was indeed the authentic crystal flute made for James Madison by Claude Laurent of Paris or was it a reproduction or other potash flute. Thank you.

You're ready to buy a new flute, but how will you know which flute is right for you? Read on for helpful advice and tips from FCNY's Resident Flutists, who help flutists find their perfect flute every day. And if you need more help, don't hesitate to contact us.

Welcome to Flute Q and A number 37. This question is about dribbling when you play the flute and how to stop it. So my name is Jane. I teach the flute, probably obviously I teach the flute, maybe obviously also I'm Australian. My business is teaching people how to get faster progress on the flute through learning proper technique.

It makes so much difference to learn proper flute technique. One little step at a time instantly improves your flute playing. No kidding. I've got an example for you about how to do that at the end of this video.

So there is another point to add about this. Sometimes when you are dribbling when you play the flute or just salivating too much, it affects your tone, but sometimes it's not actually the salivating that's affecting your tone, it's actually that your tone in general needs or could be improved. It could become clearer, it could become stronger and more solid sounding.

So if you have unclear tone, fluffy sound and you would like it clear up regardless of what your dribble is doing, I would suggest that you come and do the free 3day minicourse at www.flute.school. Sign up there. It's a free minicourse and it takes you through the 3 very strategic tweaks to make to your embouchure that instantly improves your sound.

But why does flute fingering have to be so complicated? I mean, there are 20 keys on the flute. That is twice as many keys as I have fingers. Not only that but the Bb in my list according to Second Octave Basic Fingerings has 3 different possible fingerings. I guess now that I found yet another fingering for that same Bb, that makes 4 fingerings. Why so many fingerings for a single note? And why 20 keys? Isn't 10 keys + harmonics(in other words overblowing) sufficient to get all the notes of the 3 octave range?

This answer is slightly modified from a forum post I once wrote elsewhere to explain in detail why the flute's "complicated" design is the way it is. It's long as anything, but it does answer the question, so why not? TL;DR included at the bottom.

And, on the bottom end, we have 2 extra keys to extend the register of the flute downwards. This isn't strictly necessary of course, but it's nice to have a couple of extra notes in the bass end without compromising the high end, and composers have seen fit to write music for this full range, (with B and B flat foot joins, this is extended a bit further).

Let's imagine we're designing the flute from scratch. So, how do flutes work? Let's look at the simple, diatonic flute first. Instruments like this are found all over the world, independently invented by different cultures (with some variation but perhaps not as much as you'd expect), except not with keys, but with holes.

(the above could be for example a cheap "Irish flute", a pennywhistle (with a fipple), or indeed an Indian Bansuri. Other similar flutes have more or less holes, the Japanese Shakuhachi has only 5, the carnatic bansuri 7, but the basic principle is the same.)

Over time, in Western Europe, people wanted to be able to play more chromatic notes, but they ran out of fingers to drill more holes. Half holing is always an option (it's what bansuri players do), but it's difficult and imprecise in fast passages. Some "forked" or "veiled" fingerings will sometimes work on these flutes. What this means that instead of just changing the length of the tube, you flatten that note by covering some holes lower down the tube. With an instrument like the french horn, this is comparable to putting your hand in the bell to lower the pitch a little, the tube becoming slightly obstructed.

Over time flute makers began to understand more and more how to position these 6 holes so these forked/veiled fingerings were in tune. The baroque flute (as seen here ) still only had 6 holes (and 1 key, for E flat), but these holes were tactically placed (and sized) to allow a lot of options for various fingerings.

Note: this is still pretty much just a stick with 6 holes in it (and 1 key at the end to open a 7th hole, but that was it). The specific placement of these holes was perfected to be manipulated (incredibly skillfully) to play all the extra chromatic notes though, by using these "cross-fingerings". This resulted in a flute with many many alternative fingerings for the same notes, with different ones being slightly flatter/sharper (pitch) darker/brighter (timbre). (Note that while to a modern musician this "inconsistency" of tone and pitch may seem like a defect, this was not actually not necessarily undesirable for the music of the time. But going into more detail on that would make this answer even longer...)

The above is for the first octave, but as you get higher, the vented fingerings become more and more complicated, with more and more alternative options that are slightly sharper/flatter darker/brighter louder/quieter. This essentially meant that the further away from the "home key" (D) you got, the more of a pain it was to play. There were no "sonata for flute in Ab"s in the baroque days...

This flute gradually evolved, with more and more keys being added to open extra holes here and there, finally ending up with the concert flute as used at the beginning of the 19th century (now usually called the "simple system" or "old system" flute). So now rather than being a stick with 6 holes on it, it's stick with 6 holes on it and a bunch of other holes covered by metal keys that you can open with a bunch of levers and stuff. (This incidentally is the flute that is still used by Irish flute players to this day, albeit with a different technique than the classical players used to use, and generally the keys are mostly ignored, or even removed).

If you look at the fingering and mechanism of this flute, with all the additional holes and keys here and there, and alternate fingerings for each note, it most certainly does not follow a simple "logical" system. But, it evolved over time, kept all the familiar fingerings for the more simple notes, and allowed the flute to be "more or less, with a lot of finesse", chromatic.

So with that out of the way, how would we design a "perfect" chromatic instrument. We want it to play equally as well in all keys, with a strong and even tone that doesn't change throughout the chromatic scale. So that means no veiled fingerings: with the same principle as a diatonic flute, open 1 hole,move up one note, except this time we do it for the chromatic scale not just the diatonic one. Take a big tube, and drill (at least) 11 holes in it (for all 12 notes). And the fingering would be something like this: 041b061a72