This series of six mini workshops proved to be a great success. The following list highlights both the pieces I chose and the ideas put
For some people, the mere mention of “scales” leaves them feeling depressed, anxious or just confused! But since music is made up of scales and
RS 2012 is slightly different from the original Cooper Scale. As Cooper admitted, there was always room for improvement and this has now been done. That said, I am sure there will be corrections in the future, continuing Cooper’s work. The alterations are small, but to those with sensitive ears, they are significant when expressive intonation is employed.
For many years now there has been an issue in the British flute world that has been allowed to continue unchecked and I feel that is time that someone with a contrasting view voices an opinion.
What’s in a scale? More to the point, what’s in “the Cooper scale”? This short primer on scale—and why every flutist needs to understand its importance— includes a heartfelt appeal for the open information-sharing that defined the character of the late Albert Cooper.
Probably the most important stage of making a headjoint is cutting the embouchure hole. It is this that really makes it work or not.
In my first two articles in this series I talked about how I make a headjoint tube and lip-plate. This article covers the riser: a
In part 1 of this guide, I explained how tubes for handmade flute headjoints are made. In this article, I’ll talk about the method I use to make a lip-plate.
What I am intending to do over my next few blog posts is to describe the process involved in producing a headjoint from tubes and sheet, through to the final finished product. I am not for one moment suggesting that this is the only way of making a headjoint, but it is one that works well for me.