Yesterday I woke up to an email in my flutenet folder posted by Bradley Leighton informing everyone of Felix Skowronek’s death on 4/17/06. To say the least, I was shocked and very saddened to read this as I’ve known Felix for the past few years – he was THE modern wood flute guy on the planet!
I first heard about Felix from Russell Phillips at Flutemakers Guild when I was just getting started as their rep here in the USA about five years ago. I remember Russell saying something along the lines of “he is mad about wood!,” gave me Felix’s address and phone number and told me to call him up. In talking with Felix, I learned that Felix actually had been the Flutemakers Guild rep back in the 70s before Suzanne Walker (one of his students) took the job. I had long talks with Felix about Flutemakers Guild and remember him saying how unfortunate it was that the company that had been at it for so long had had to stop making their legendary wood flutes due to the death of Ewen McDougall and Harry Seeley’s stroke just as the wood flute was catching on.
Felix also sent me numerous articles that he had written over the years on the wood flute of which I learned a great deal from. I scanned a few of them for him so he could see what they looked like on the Web and just last April, Felix sent me an email asking about the scans:
Remember you made up a temporary website or somesuch and copied my article on wood headjoints for remedial purposes? I can’t seem to find a hardcopy here in my files, so I’d like to get one off the internet you set up — but I forget that address too.
I’m finally getting back to the workshop now and then, making up a bunch of headjoints to carve in June. I underwent heart bypass surgery in early February, taking the quarter off here to recuperate. I’m back in business now, none the worse for wear, playing a concert last Sunday night in fact.
I came across a couple “kiawe” blanks tucked away in some old boxes, and I think I’ll make at least another head or two considering the success of the one you have; i.e. the “cyclops” headjoint. How is it holding up??
Something to think about: we have a wooden flute “cell” in Victoria, BC, and I go up a couple times a year on the Clipper and take heads along to try, etc. Might you be interested sometime, bringing the rest of your FG heads to show? You’ve mentioned visiting, and it’s not all that far away. Also, do you have any publicity shots or even videos of you on the job with that “cyclops” headjoint? I’m collecting a “rogues’ gallery” of wood players.
Fortunately, I was able to find the scans he was asking about (his “Pumping Wood” article) and sent them to him. They have been re-posted here:
My heartfelt condolences to Felix’s family and friends.
Back in the early 1980’s, Elias Leuvwarden (a good friend and phenomenal classical flutist from West Germany) made the case to me for playing alto flute and piccolo as a way to strengthen my soprano flute chops (i.e., typical C flute). Elias reasoned that if you could get around on an alto flute well, then your embouchure for the low register on the flute would have room to burn. Likewise for the piccolo and the high register. In other words, expand the range of your flute embouchure naturally by playing those instruments that require it – the alto flute for the lows and the piccolo for the highs (and get good enough on them and you’ll get to play the alto and piccolo gigs too! 🙂
Recently on Galway-Flute-Chat, a member said of her Yamaha flute:
The Scale Was Dreadful! I bought mine in the mid
1980s. Absolutely one of the worst scales ever
She went on to say that this was somehow because Yamaha had tried to use various Hammig flute scales in making their scale. This is news to me! To date, I’ve never run across a Yamaha flute with a scale as out of tune as she describes. On the contrary, the Yamaha’s I’ve played seem pretty good scale-wise.
The one exception to this was a Yamaha YFL-61 (made between 1974-79) that I bought used about six years ago. It’s my understanding that the YFL-61 was a copy of a Powell (not Hammig), solid silver throughout and Yamaha’s top flute at the time (current model is the YFL-784H) . However for some reason, my YFL-61 had a very flat middle register C# that required a considerable amount of adjustment (i.e., turning the flute outwards when playing) to make it in tune. Why? In my hunt for an explanation, the first thing I noticed was a different patina on the headjoint than the rest of the flute… hmmm.
I became suspicious that the headjoint was not the original, even though it had a professional Yamaha crown. Unfortunately for me, my suspicions were confirmed when under closer scrutiny, I noticed that the headjoint chimney was not soldered on (as the handmade YFL-61 heads are) but instead was drawn, a machine-made job! Somewhere along the way, the original handmade head for the flute had been swapped for whatever this head was (not even sure it was a Yamaha because there was no Yamaha logo on it anywhere) and cleverly (and very cheaply I might add!) disguised by the Yamaha crown.
An Altus headjoint I had on hand fit the YFL-61 perfectly and much to my delight, when I played the flute with the Altus head, voila! – the C# was no longer flat! In fact, the flute played exceptionally well with that Altus head and so that’s the combination I went with. Makes me wonder if the woman with the “dreadful scale” Yamaha has tried different headjoints on that flute. Maybe I’ll drop her a note and find out…
This memo is to alert you to the information and registration website that we hope will be posted by the end of the week or into next week. This will contain current information about the Wood Flute Conference to date, along with the registration form for campus housing and food services.
PLEASE NOTE: THE CORRECT DATES FOR THE CONFERENCE ARE FRIDAY JUNE 16 THROUGH SUNDAY JUNE 18. Earlier information had the dates one day off.
Although many have expressed interest in performing during the Conference, there is still room for additional slots for the Evening Concerts for those of you who are interested, first come first served. If demand warrants, we will move into afternoon performances as well, taking up slots originally set for lectures and panel discussions. I would hope that we don’t have conflicting events so that everyone can attend everything scheduled.
Meanwhile, if you have any questions, please get them to me before Sunday morning, as I will be away from March 12-28.
With all best wishes,
A recent thread on flutenet once again brought up the issue of the flute and how to mic it in live situations. Since 1987, I’ve just used the same Shure SM-58 and find that, for whatever the reasons, I get a fuller sound than when I use the tiny clip-on style mics.
Taffanel & Gaubert #4 is one of the most enduring scale exercises, used by countless flutists of all levels of ability. It is quite a workout. For some reason, in talking with Jen Cluff a few days ago, our conversation turned to talking about intonation and Taffanel & Gaubert #4.
I recalled how double-bassist Edgar Meyer had told a friend of mine (this was about twenty years ago – yikes!) that to improve his intonation, Edgar used a synthesizer and programmed in the parts he was working on. I remember at the time thinking what a brilliant use of technology that was and so, shortly thereafter, programmed in Taffanel & Gaubert #4 into my keyboard to give it a try.
Right away in playing along with the keyboard, I could see the weak spots in my scales – both in terms of evenness, as well as intonation – everything was so transparent! Unfortunately, that synthesizer program got lost a long time ago. The good news is that Jen said she’s got a Sibelius version of it done and just needs to upload it to the Web. I’ll post that link here as soon as she does.
Yesterday, I got an email from a former student of mine asking about buying a used Sankyo “Artist” model flute. I explained to him that it was my understanding that the “old” Artists were a different – and more expensive model – than the newer ones. In other words, at some point a few years ago Sankyo had moved the name Artist to an entirely different model of flute and lowered the price.
In checking the Sankyo Web site, I noticed that now gone are the model names Artist, Etude, Silver Sonic et al from their product line. In their place, names like CF201, CF301, CF401 etc., instead.
Yamaha too changed their naming system a few years ago. For example, gone was the well known YFL-581 and in it’s place now stood the YFL-674. Unless you’re paying attention – and asking questions – keeping track of “what’s what” can cost you.
Back in 1990, I bought a handmade solid-silver Yamaha CY headjoint at Best Music in Oakland. I bought this particular CY head (a demo that they had behind the counter for $370), because I was so impressed by the way it played in comparison to all the other headjoints I had. In fact, so intrigued was I by this head that I ended up calling Yamaha in Michigan to find out more about it.
During my conversation with the Yamaha rep (Tom Wheeler?), I was told that Yamaha had seven old men in Japan that handmade their pro headjoints (starting in 1992 however, Yamaha began machine manufacturing the CY heads except for those on their most expensive pro model flutes). When I inquired as to how they came up with the CY cut for their 581 model pro flute, I was told that when Yamaha was doing their R&D, they actually had sixteen headjoint designs in a box. This box had been flown all over the world to professional flutists in major symphonies. The flutists were asked to vote for the cut they liked the best and the overwhelming favorite was the CY, and so Yamaha went with that. Apparently, such R&D is typical of the way the Japanese do business – smart!
Recently on flutenet, there was a thread weighing the pros vs cons of student nickel-plated flutes. One thing I didn’t mention in my replies there was that the common practice of flutists these days to upgrade or change the original headjoint to a pro model (often by another brand), in *most* cases means a silver headjoint – not nickel. Silver head on nickel body? Not a good look, sorry.
I have three footjoints for my Haynes – B, C and D. Without a doubt, the response on the low end of the flute gets worse the longer the footjoint is. In other words, low notes like D, E and F sound more open and resonant to my ears with the D foot, less so with the C foot and less again with the B foot.
That is not to say that I don’t use the B foot because I don’t like the tubby response of the low end, I do use it and use it fairly often. That’s because low B is a very useful note, especially in jazz (and some 20th century stuff) – even if I think the flute sounds and feels “wrong” the entire time I’m playing it…
And lively as the D foot is, unless I’m playing Mozart, the loss of having a low C and C# can be frustrating too. So the moral of the story is that I look at the musical situation first, then decide which footjoint is best for the job.