We are often asked in the shop: “why has my new flute turned black?” One moment your silver flute is nice and shiny. The next,
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
Robert Dick is an internationally renowned American flautist and composer nicknamed ‘the Hendrix of the flute’ due to his ability to create effects similar to electric guitar and push the boundaries of conventional flute playing. He was inspired by Hendrix’s creativity from a very young age and desired to match the sound and abilities of electric guitar on flute.
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.