rod
~ Elite 1000 Member ~
My job is flute maker, in the style of instruments of the 18th and 19th century, mostly.
Strangely, I get into deep trouble with my customers if I do not make an exact copy of their choice of a good surviving flute original. No, it is not acceptable to copy modern copies of copies made in this present day and age by living makers. Does that last sentence make sense? The player needs to feel that the newly made "old style" flute would be acceptable, hopefully good, if handed to Bach, Handel, etc. However, old wood flutes often suffer the ravages of time and may be warped oval in the bore or banana-shaped along the axis, yet some still play pretty well even if bent by age ( remember a saxophone plays well, and it is bent into a swan neck!). So my customers demand that I do my best to extract the ravages of time, and not slavishly copy a warped flute, but to please copy the best of its sound, character, and intonation.
Since 'copying' has been the subject of some recent posts, one might imagine that a similar situation in the engraving world would be to receive a commission to make an exact copy of say, a set of engraved dueling pistols by some long-dead Scottish pistol maker of the 17th century. That would be a legitimate commission, and you would be judged by the quality of your work, and the sparkle of your cuts. You would not want to slavishly copy the ravages of time, such as a bent barrel, but endeavor to produce a good working piece.
That said, sometimes a player will want a person touch, like the engraved key on a Scherer style flute below, one that I made for the great Rachel Brown, to record the Telemann Fantasias. You may even get that CD to keep you company, and quiet the mind, to help you concentrate on a demanding engraving job:
http://www.amazon.com/Telemann-Fant...=sr_1_1?ie=UTF8&s=music&qid=1261354680&sr=8-1
On this key I am trying to apply some understanding gained in Martin Strolz' recent class. As always, I would welcome any hints and tips to allow me to get better on the next key?
Seasons Greetings!
Rod
Strangely, I get into deep trouble with my customers if I do not make an exact copy of their choice of a good surviving flute original. No, it is not acceptable to copy modern copies of copies made in this present day and age by living makers. Does that last sentence make sense? The player needs to feel that the newly made "old style" flute would be acceptable, hopefully good, if handed to Bach, Handel, etc. However, old wood flutes often suffer the ravages of time and may be warped oval in the bore or banana-shaped along the axis, yet some still play pretty well even if bent by age ( remember a saxophone plays well, and it is bent into a swan neck!). So my customers demand that I do my best to extract the ravages of time, and not slavishly copy a warped flute, but to please copy the best of its sound, character, and intonation.
Since 'copying' has been the subject of some recent posts, one might imagine that a similar situation in the engraving world would be to receive a commission to make an exact copy of say, a set of engraved dueling pistols by some long-dead Scottish pistol maker of the 17th century. That would be a legitimate commission, and you would be judged by the quality of your work, and the sparkle of your cuts. You would not want to slavishly copy the ravages of time, such as a bent barrel, but endeavor to produce a good working piece.
That said, sometimes a player will want a person touch, like the engraved key on a Scherer style flute below, one that I made for the great Rachel Brown, to record the Telemann Fantasias. You may even get that CD to keep you company, and quiet the mind, to help you concentrate on a demanding engraving job:
http://www.amazon.com/Telemann-Fant...=sr_1_1?ie=UTF8&s=music&qid=1261354680&sr=8-1
On this key I am trying to apply some understanding gained in Martin Strolz' recent class. As always, I would welcome any hints and tips to allow me to get better on the next key?
Seasons Greetings!
Rod
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