Beginning on flute

[Razzy]

I have played sax for about 5 years and am currently a 4sax guy. I want to start learning the flute so that I can get a strong foundation before my college auditions begin in about 9 months.

I'd like to know anyone recommends a good book for beginners switching from another instrument; something quite like Teal's "The Art of Saxophone Playing." Thus far I've seen one in this series for French Horn but haven't been able to find anything for other instruments. Thanks for any help.

Also I would be grateful if anyone could give me an explanation of the flute embouchure. I have a concept but I'm not sure if it's correct: an excellent floutist at my school who was inducted into the All-National band on flute and piccolo as a SOPHOMORE (oh yea) explained it to me somewhat a while ago but I don't remember much. She said basically to keep the lip relaxed and somewhat protruded, cover about half the hole with it, and to keep the upper lip relaxed as well. From my sax playing in which I keep the upper lip firmly sealed around the mouthpiece I was apparently trying to do this with flute too. One problem I have is, how does one change registers? Is there some sort of "octave key" or is it all in the embouchure and fingering? Also I've heard that there are a few different possible embouchures depending on the tone you wish to get.

-Ian

[SuiZen]

There is no octave/register key. It's done with embouchure, and some fingering changes. Check out the fingering chart, for flute, on the following web site.

http://www.wfg.woodwind.org/

I like the Trevor Wye series of flute books.

http://mypage.uniserve.ca/~lwk/wyept1.htm#wyebooks

Bill

[Gordon (NZ)]

It's done with air speed, and for a greater air speed you need more air pressure, plus more support of the lips to maintain an appropriate sized hole.

The higher you go, the less air QUANTITY you need (although it as faster speed) so the embouchure hole size will be decreased accordingly.

This reduction is primarily to reduce the quantity of air, not to increase the speed.

You can play high notes with a open embouchure (and high air SPEED), but you will run out of air in a second or two!

[paulwl]

I just got a slim volume called How To Play The Flute by Howard Harrison. It covers the basics like embouchure, hand position, breathing and fingering (along with some basic music-readsng stuff you won't need). I've just begun with it, but have already found the instructions on basic embouchure and blowing the headjoint to be very helpful.

[paulwl]

Reading carefully is not my strong suit, or else I'd have noticed the following I'd like to know anyone recommends a good book for beginners switching from another instrument; something quite like Teal's "The Art of Saxophone Playing."
There actually IS an "Art of Flute Playing," written by Edwin Putnik and published by Summy-Birchard, or whoever now has the rights to the Teal book. I tried basic self-teaching out of it many years ago and didn't get very far, but that was probably just me. I found it a bit intimidating, but it certainly does go into detail.

[Gordon (NZ)]

Razzy:

Over a year I gave a member of this forum flute lessons - solely by email!
It seems to have been remarkably successful, all by question and answer, and my awareness of the sort of problems a flute player is likely to have when coming from sax.

You are welcome to an edited, (non-identifying) version of this correspondence as an email if you like. I think you'd find it quite insightful if you can be bothered reading it. The file size is 170 KB.

[Razzy]

hey that'd be great. queitus at hotmail.com
thanks

-raz

[paulwl]

Me too. paulwl@cyburban.com

[Gordon (NZ)]

Sent.

[paulwl]

Thanks kindly, Gordon. Interesting reading so far - although unlike my beginning flute books, you don't hesitate to let the beginner know the steepness of the learning curve he's in for...

[Troy]

Me too, please, Gordon. My wife just started and would really benefit from this. Thanks for sharing.

Please send it to perrytime@NOSPAM.netzero.net

Troy
(remove the NOSPAM)

[I. Fallon]

Hi Gordon. This is Irv. Please send one to bfallon1@mindspring.com. Thank you again.

[Alan G]

Gordon (NZ):

ooh ooh ooh - Me Too! :D

Not only am I struggling on the durn thing - but my 5th grade daughter is just getting into it at school.


Thanks!

Ageorgian@aol.com

[I. Fallon]

Is this forum great or what?

[Ali]

Gordon would mind sending another copy: aafrookteh@fmh.org. Also in another thread you were talking about trying different head joints. I have an older (30yr) King flute with silver head and silver plated body (model 1013) with a C foot. I was told that newer head joints may not fit. Is that true? If so, are there headjoints that would fit?

Thanks

[Gordon (NZ)]

Email sent for all requests.

The ideal is for a head and its socket to be manufactured to fit each other perfectly.

However, unless there was a severe difference in diameter between a head and its socket, any well-equipped technician should be able to adjust the fit, using specialised tools that shrink or expand the tubing. It is routine work, likely to take between 2 and 10 minutes.

[I. Fallon]

Hi Gordon. This is Irv. I got your email and have been "relearning" to blow straight ahead and dropping my jaw a little. The upper octave is coming out much better and my top octave is much stronger than before. Bottom C takes very little air but it will take a while to get used to it.

Nothing like getting a lesson from across the planet!

Thank you again.

[jbemery]

Hello Gordon,

I just started flute about a week ago, I would very much appreciate
it if you would also send me your flute playing tips.

Thank you in advance ! - John Emery, jbemery@attbi.com

[Ali]

Thanks for the info Gordon. I like your analytical style ( guess it's the engineer in you). Does anyone know a good source for headjoints used or new? The sources I've checked so far are limited or very pricey.

[tenormadnessmk7]

If you can send that to me as well that'd be greatly appreciated. tenormadnessmk7@attbi.com

thanks

[Max W]

Gordon (NZ), will you email your starting flute document to maxwdixon@attbi.com?

Thanks.

[Jazzophone]

lol there's nothing like being in 9th grade and teaching a friend -- so if you could send one to ruhee@shaw.ca, that would be great, thanks :) you're getting a lot of reads!

[Gordon (NZ)]

Sent.

I'm not sure that it warrants all this attention, especially being rather long and cumbersome.

Has it been of use to anybody?

[Nefertiti]

Hey Gordon,
Can I get a copy. Thanks :D jazzsax@attbi.com

[uCtaudio]

Me too! erlend.bratlie@mobilpost.no thanks!

[Gordon (NZ)]

Sent.

Still almost no feedback. If this is pretty unhelpful stuff, please tell me, and I will kill the monster!

If it is worthwhile, then some day I could be inspired to put it in a more readable format - instruction rather than correspondence.

[I. Fallon]

Hi Gordon. This is Irv. I still think you are the greatest.

Sir James Galway is performing at the University of Connecticut on Thursday the 27th and is offering a master class. My teacher has gotten me an invitation to attend.

If anyone wants to go, call 860 486 5225 and ask for Pat. Cost is $5.00. Bring your flute and music stand. It is being held at Jorgensen Auditorium 5:00 PM to 7:15 PM.

Evidently, middle school and high school students are encouraged to attend, so topics should be relatively basic.

[Alan G]

Gordon(NZ)

No no no - don't stop!

It was very helpful!!!

Speaking for myself - WE are all just very (very) rude people - who havn't the decency to write back and say THANK YOU.

Umm ... it is rather long - but there was good stuff right from the git-go.

BTW - did I mention? ..THANKS!!!!


and THANKS AGAIN.


thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you
thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you
thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you thank you


there. I wrote it 100 times

:D

[Gordon (NZ)]

Shucks!. Thanks.

[Ivy]

Gordon, you as curious as a cat. Please send me a copy and I will share it with students and friends. Thank you. thank you- I better stop.

Ivy- email: ivylopez@astound.net

[Ivy]

Please insert "you've got me" in my opening statement- sorry.

[Gordon (NZ)]

Done!

[sinkdraiN]

Cool! very cool! Please send me a copy BSTAHL@EROLS.COM

[Troy]

Gordon,

It's great! Thanks. My wife hasn't gotten to it yet, as she is just starting training to be a volunteer fire fighter. I looked it over and it is just as I expected -- well written and detailed, covering just about everything.

Thanks,

Troy

[I. Fallon]

Well, I can now say that I have played with James Galway LOL!

Evidently, he is having a training session with young players (and anyone else that shows up) at concert sites to promote his Flutewise publication and web site.

For me, the best part of the session was question and answer. If you had ten (10) questions (as I did), he'd answer ten questions.

For example, he advocated blowing on the pads located on the foot joint to assist in playing low Cs. I had never heard of this.

[Gordon (NZ)]

Hmmm. Interesting.

I think Galway has commented on how rarely he gets his flutes serviced.

"... he advocated blowing on the pads located on the foot joint to assist in playing low Cs. I had never heard of this."

Nor have I.

As far as I can see the only possible reason for doing this would be to aid sealing if the low pad seating were not adjusted correctly. This happens as pads settle in a little, on account of them being hinged from the side - not lifting vertically.

[I. Fallon]

Hi Gordon. This is Irv.

He must have pretty good pads because he has a very soft touch during fast passages (which he was playing all night during the concert).

He also advocated practicing songs using harmonic series on a few notes. He played "The Star Spangle Banner" using the harmonic series of two (2) notes during the class session.

During these sessions, he is seeing a lot of students hold the headjoint around the lip plate as they assemble and disassemble the flute. He said that the materials used in the lip plate and riser tube, particularly silver, will be damaged by this process.

He had no preference between offset G and in line G.

I noticed that his music stand placed the music horizontally, which shut off his throat as he played because he leaned over to see it. He may do this so that the audience could see him, but it has to be a disadvantage.

It looks like he is really "rolling in" his lip plate.

[wsgreen5]

Wow, how does it feel to be celebrity Gordon?

You know what's coming!

Please, oh please send me a copy at wsgreen5@NOSPAMhotmail.com

[Razzy]

Never got one. once again:

Queitus at hotmail.com

Just replace the " at " with @

thanks.

-Raz

[mostly alto guy]

This thing must be great! I've got a flute on the way, but I haven't blown one in a number of years, so I could benefit from this, too.

Gordon, please send to mithril60@hotmail.com

Many thanks!

[Gordon (NZ)]

He must have pretty good pads because he has a very soft touch during fast passages (which he was playing all night during the concert).

He also advocated practising songs using harmonic series on a few notes. He played "The Star Spangle Banner" using the harmonic series of two (2) notes during the class session.

During these sessions, he is seeing a lot of students hold the headjoint around the lip plate as they assemble and disassemble the flute. He said that the materials used in the lip plate and riser tube, particularly silver, will be damaged by this process.

Quote from Sir James in his Forum: "Since Muramatsu have come out with their new pads I hardly ever have my flute 'repaired' or adjusted."

A few decades ago I used to practise 'You Are my Sunshine' in harmony (in the third octave) by fingering only a couple of low notes and overblowing them to BETWEEN two high overtones, such that they both sounded. I was good at it for a while, but have now lost it. It must have needed a lot of practise. :-)

The hand pressure needed to securely hold a flute around the lip plate is nowhere near enough to distort the metal here for any flute I have worked on. The only possible damage would be extremely slight abrasion of the edge of the tone hole from any RUBBING that the fingers might do here.

[Razzy]

Thanks a lot! Thus far this is great stuff.

-Raz

[Ivy]

Gordon,

Are these Muramatsu pads anything like Sir James says, according to your experience? Skin pads or synthetic? I wonder if they would fit a Koregolos flute?

Thanks, Ivy

[bcnsax]

Hi Gordon! I'm a saxophonist doubling on flute and I'd like to have a copy, too!! Thanks :roll: !!!

mbayer@mixmail.com

[Altoholic]

Gordon:Could you send me a copy too? My email address is altoholic@yahoo.com. Thanks in advance.

[Gordon (NZ)]

Gordon,

Are these Muramatsu pads anything like Sir James says, according to your experience? Skin pads or synthetic? I wonder if they would fit a Koregolos flute?

Thanks, Ivy

I have not disected Muramatsu pads recently. They are very likely to be the "Star*LP*" pads produced by Music Center, the world's biggest pad maker, in Italy. Or similar. These are characterized by their thinness, hardness, and accuracy of manufacture.

Any pads can be vitter to any flute, providing they are not too thick to be set up to seal correctly. The depth of pad cups is reasonably standard, so this is not normally a problem.

However Koregolos flute is not one of the over 125 makes I have worked on. Nor I have never heard of it, and a web search reveals nothing. This means that it is almost certain that it is unusual, or of low quality, probably with poor geometry of the mechanism, and non-level tone holes. If there is a lack of precision in manufacture, any hard type pad would be quite unsuitable.

[Ivy]

Thanks, Gordon for the info. Koregolos flutes were made in Oakland, Ca for around 20 years by George Koregolos. They went defunct in the early 90's. They made very high quality semi-pro and pro flutes which were really highly regarded in the U.S. They had very limited distribution and I think only the House of Woodwinds of Oakland sold it. Many people in the west coast play his flutes. Initially it was called Sealos (Seaman- of the piccolo fame, and Koregolos collaboration). The design of their flutes were patterned after Prima Sankyo artist flutes. My flute is actually a Sealos-a very good flute that I bought from a player from s.f. symphony.

[Gordon (NZ)]

Sorry for insulting such an apparently prestigious name by casting aspersions!

[Zman]

Gordon, please shoot a copy to me. Just got my flute back freshly overhauled, so I don't have any more excuses for not practicing!

Thanks man - bszcpa@ix.netcom.com

[Gordon (NZ)]

Done

[trptman]

Gordon,

I hope you're still watching this. Please send me your flute email. padgetts@worldnet.att.net It sounds like it is really helping people.

trptman

[Gordon (NZ)]

Sent.

[I. Fallon]

I hope that I can explain this correctly.

My flute teacher is advocating that I finger (and play) a first harmonic, then the actual note, and attempt to get the sound to be as close as possible. For example, the first harmonic of low D is middle A, the first harmonic of low Eb is middle Bb, etc.

I can get this to work until middle Bb. I cannot get a first harmonic out of the normal fingering of Bb. I can get one out when I place my thumb on the button to the left of the normal button. Is there something wrong with the flute pads or is this a venting thing? I can get first harmonics on the notes after middle Bb (well, I only can go up two more notes thus far).

I am going to ask the teacher but she has been calling in sick for the last couple of weeks.

By the way, this is a great excercise.

[Gordon (NZ)]

Your post is confusing because of incorrect use of the term 'harmonic'.

The first harmonic of low D is, in fact, low D.
The second harmonic (i.e. second 'overtone') of low D is middle D.
The third harmonic (i.e. second overtone) of low D is middle A.

Third harmonics are not necessarily in tune with the fundamental (i.e. 1st harmonic), so this is not quite appropriate as a tuning exercise, even though it may be appropriate as an exercise in appropriate breath support and embouchure.

If you finger 1st octave Bb, you should be able to get the overtones: 2nd octave Bb, third octave F (sounding flat, and with a fuzzy undertone of 1st octave Bb), and third octave Bb (also with an undertone)

"I can get one out when I place my thumb on the button to the left of the normal button."

The thumb is normally on the "B key". (They're not called buttons) The key to its left is called the "thumb Bb key". The first finger of the right hand presses the "F key". Immediately above this is the "F# key". The left hand middle finger presses the "A key". The key immediately above that, which no finger goes on, is the "Bb key". When you press the f key, both the F# key and the Bb key should close precisely with the F key. From what you are describing, perhaps the F key is not closing the Bb key.

This could be because of a poorly adjusted linkage, but is very likely to also involve the Bb pad not sealing all the way around as well.

[Nitetimer]

Gordon, can you send another one? hborne@cox.net

[Gordon (NZ)]

Sent

[MixMastaB]

Hey Gordon, i'd love to have a copy! can you send one to funnybrandon@hotmail.com? Please and thank you :D

[woodengrace]

Could I also have a copy? I'm sure it'd be really helpful and I'd be real thankful. woodengrace@aol.com

[Gordon (NZ)]

Sent. :-)

[MJ]

Hello, Gordon!

Is this some huge band wagon or what? Please send me your online flute lessons, too. I'm a trumpet and now beginning sax player with a wild hair for sweet lilting sounds--like maybe flute. You just never know...
Thanks very much for the flute information!

M.J.

[MJ]

Ops!

Forgot to send address for those lessons:

wuf123@cox.net

Thanks for sharing!

M.J.

[luckyace1111]

Thanks man.

luckyace_87@yahoo.com

Really nice of you to have created something like this.

[Gordon (NZ)]

Sene. Sorry about the delay. I hope it has something small to offer.

[dvanaken]

Gordon-

I've got to get on board, here. Can you send me a copy of the sax-to-flute dialog? Thanks.

Dale Van Aken
dvanaken@netreach.net

[Gordon (NZ)]

OK. Gordon.

[soreliprick]

I read your stuff in the archives doubling section and got a sterling silver flute head from some goofball in Australia and now can play quite adequately. So you don't have to send me your boring treatise on sax-to-flute because what was in the archives was sufficient, when I figured out a way to stay awake to read it. Unless you think it might help. Besides, I've had insomnia bad for a while now. It couldn't hurt. Why don't you send it anyway? engahh@cs.com

[Gordon (NZ)]

I don't really know how to take that.

I never claimed that it was not boring. I never claimed it was a treatise.
It is just some correspondence, that helped somebody, and quite possibly would help few others. It's no big deal!

If it is so boring (apparently labelled such without even having been seen) then I implore you, please do not read it!

[JJiimm]

I think your lessons great, I just had mine leather bound, with a bit of gold trim!!!
JJiimm :D

[Dr G]

I read your stuff in the archives... So you don't have to send me your boring treatise on sax-to-flute because what was in the archives was sufficient...

Soreli,

If you were trying to be funny, it didn't come across that way. If you were being mean spirited, please don't be.

Gordon has provided many among us with accurate and insightful information. Nasty grams such as yours have a way of driving off the nice people and leaving the forum with only opinionated (vs informed-and-opinionated) bags of wind.

In the future, if you are trying to write some wry humor into your posts, please use the emoticons so we know that humor is intended.

Cheers,

George

[xraydog]

Gordon,

I would love a copy of your "flute lessons" .

Please send to xraydog@epix.net at your convenience.

Thanks,

Rick D. (xraydog)

[Gordon (NZ)]

Sent

[GT]

Thanks, George. You said what I was thinking.

Regards,
George

[bari_sax_diva]

Gordon!

I'm a sax/clarinet player who does some doubling (self-taught, probably with all the bad habits that go with it), and I need to get better on flute. Just got a new one yesterday, now I'd like to develop the chops to go with it. Can I have a copy of the "treatise?" In my humble opinion, anything that can be called that has enough information to help even ME. :lol:

Also, please drop a note if you're getting sick of e-mailing this--I'd be happy to set ya up a web page on which to post it (gratis, of course).

Cheers,
Leanne

[Gordon (NZ)]

I'd have to add a lot, remove a lot, and reorganise it before calling it a treatise worthy of my name.

However I believe that there are sections of it that are particularly relevant for the issues concerning a person going from sax to flute.

Don't get me wrong. I am no special guru of flute. It is just that I have thought of aspects of playing in perhaps a more analytical way than most do, which may suit some beginners well.

I don't think I'll bother with the web site, but many thanks anyway. That, in my mind, would sort of formalise the document, and I would be ashamed of it, relative to the documents I have written on various issues for my repair customers.

If you want a copy I will need your email address!

[bari_sax_diva]

Oops!
I'm saxdivaATearthlink.net (just replace the AT with the @ sign).

Thanks!
-Leanne

[soreliprick]

Just a little 'Thank You' for relieveing my insomnia. And another for extending my range, showing me how to hold my flute right, making sure I use the proper fingering, and knowing that I had my tongue in cheek for more reasons than just to keep it out of my air flow.

[soreliprick]

Oh, I almost forgot: :D :lol: :twisted: :wink:

[Gordon (NZ)]

Leanne - sent.
Thanks, George, GT & Soreliprick.

17/6. 20/6

[SmartGuy02]

me too gordon! thanks! 8)

JazzySteve02@yahoo.com

[Mr. Blue Notes]

Gordon;

I am thinking of taking a run at flute also. I would appreciate a copy of your "treatise" so that I can assess what I would be up against. If you would be so kind as to add me to your grateful list of pen pals and send a copy.

[jazziz1]

Wow, this book must be something else! Gordon, if you don't mind, maybe you could send a copy to me, too? I'm doing some flute doubling on some gigs coming up and would like to do more, should I get good enough. Thanks! moosic2@hotmail.com

btw, promise i'll post some feedback in exchange :wink:

[jonnyc]

Hi Gordon,
I have been having flute lessons for about 4 months now. No false modesty- I am rubbish. the biggest p[roblem is finding someone who understands the sax mentality and how it translates to flute I think
Be really great if you could send me the email please?
I am at
doingmyheadin64@hotmail.com

Cheers!

[Merlin26]

Hi Gordon,

I'd love to have a look at this document of yours - it seems to have created a stir, and I need some new reading material

sv5000@hotmail.com

Thanks

Merlin26

[BillC]

Hello Gordon,

I would be most pleased to receive your document on the flute. My daughter plays the flute and would benefit from your expertise I'm sure!


billsand@cox.net

Thank you,
Bill C.

[Gordon (NZ)]

All sent.
Please do not expect too much from this, just because a number have requested it. That does not mean it is outstanding material!

I just offered it once and the requests kept coming, like Brown's cows. (Is that Kiwi vernacular? - I don't know.) :-)

[Storamin]

Hey! Could you please send your treatise of sax-to-flute playing I would be most obliged. Storamin@Hotmail.com Thanks mate.

[Gordon (NZ)]

OK, you're most welcome, but I feel a little uncomfortable about it being called a treatise.

It is just some barely edited correspondence between a sax player from this forum seeking help in doubling on flute/piccolo. It so happened that the help seems to have been rather successful for him, but it may not be of much use to others at all, for all I know.

I have the odd feeling I have created a monster here.

Perhaps I should write a book. Nah! Too time consuming. And I like the immediacy of forum discussion instead.

[Merlin26]

Hi Gordon,

Thanks for sending a copy of that document. I think u should reconsider the book writing idea :wink: Maybe somebody out there is already colating your posts

Coming from one who doubled from Flute to Sax, I found what you wrote to be wonderfully approached and very well worded - there is information in here some flutists/flautists players are never taught.

Only one thing and I do understand that this document is largely unedited, I think the section on the pressure of lips against the lip plate should be moved to the top, to coincide with the rest of the discussion on Embouchure and Balance of the flute. It's such a hard habit to break for the beginning students who have started counterbalancing the instrument in this way.

I can see the title already "Gordons'(NZ) Art of Flute Playing"

Thanks
Merlin26

[JfW]

Dear Mr. Gordon,

I've been absent from my musical talent for the past 10 years or so. I'm an Alto saxophonist who enjoys classical music playing most of all, but have also played soprano in the past. I am just now getting back to saxophone but also want to broaden myself by adding the flute.

I tried flute for a week or two in H.S. (before the instructor took the flute back as I had a real hard time getting a solid sound from it, plus I walked around the bandroom in a daze I was so hyperventilated!)

I want to give the flute another try and would appriciate you sending me a copy. Please send it to johnsonfromwisconsin(AT)hotmail.com [ remove (AT) please]

Also, is there anyone who could give me advice on purchasing a flute? I've been talking to floutists in the community band I now frequent as well as a few flute playing friends of mine. Perhaps I could talk them into selling me an extra flute, yet private sellers tend to want more than I have to spare for a flute, plus most want to keep a spare to back up their better instrument. Ebay has had me eyeing a number of instruments that go for less than a $100. Since this will be my first flute, I figure there's really no way to make a right decision as to what flute is right for me, so I might as well get my first one real cheap. Is there any advice one could give on good brands that would be affordable on ebay? What are brands to avoid?

thanks,

JfW

[Gordon (NZ)]

Thanks Merlin26. I actually feel quite out on a limb with some of my perceptions as a flute player, especially when I read advice from supposedly very experienced players and teachers. You comments were very encouraging.

FfW, I think quite a bit has been written here before on the choice of flute.

Just my opinion of course, but I think soundly based:

At under $100 on Ebay I think you may be significantly into the junk-or-needs-uneconomical-work category. There are new makes appearing almost monthly, but most of them seem to be new names for makes which have earned themselves a poor reputation. There is considerable risk of buying an instrument (even brand new) which is not economical to get to a good, reliable playing condition.

My personal recommendation for beginner flutes is Yamaha. You can hardly go wrong unless you buy quite an old one. The tone and response just keeps improving.

Bear in mind that almost all new flutes need some adjustment - if not straight away, then within the first year. I consider that very few shops would be doing this because it cuts too much into profits, and requires a better-than-average technician. As with new cars, they probably attend to only the specific faults that a customer notices. For a beginner that is not much! Even for many teachers, that is not much.

I consider the current student Yamaha, correctly adjusted, to be preferable to play than most professional instruments of several decades ago. If this flute is your limiting factor than you have become a reasonably accomplished player. I could do all my pit playing on a student Yamaha, and although I would have to work SLIGHTLY harder, I doubt that fellow players and audience would not notice the difference between this and my current professional, hand-made Muramatsu.

However my impression of Yamahas is based on models completely made in Japan. I do not know how different sold-in-America models may be.

Beware of older, second-hand professional instruments. Because of recent major advances in head design, older instruments may perform poorly when compared to 'lesser' but newer models.

[JfW]

Gordon:

are Yamaha student models sold under the label 'Yamaha Band'?



Also, after reading about half your email I can say that I identify with all the problems I experienced with the instrument 11 years ago. I was using enough air to shatter windows with a saxophone, yet just made a very airy and empty sound with the flute I was using. This I did to try to get some sort of volume, more than the meager whisper I could achieve while maintaining a solid sound.

the mouth turbulence and stream length issue made me think about what I was doing wrong, that may well have been the issue right there (and possibly the instrument too). I did not recieve much instruction in the use of the instrument as my instructer was a french horn player who didn't seemed too enthused about her 1st chair alto doing anything else, unfortunately.

thanks

[Gordon (NZ)]

I've never come across "Yamaha band".

[Gordon (NZ)]

I've never come across "Yamaha band".

[JfW]

perhaps 'Yamaha Band' is simply what woodwinds & brasswinds refers to it as.

http://www.wwbw.com/Category/?d=9&dd=954727678&c=405&sc=&b=2134773575

[soreliprick]

Gordon, I awoke from the slumber reading your treatise left me in long enough to bid and win an Artley piccolo, mostly because of your student who played both flute and piccolo. Its finally here and to my amazement is quite easy to play. Could it be because of your treatise? :roll:

[soreliprick]

Just to add insult to injury, I also picked up an Olds double horn along with the piccolo, and expect to recieve your companion horn treatise forthwith...

[Amy]

Ummmmm........

You know what I'm gonna ask. If you wouldn't mind sending me a copy of your flute help book thing I would be very grateful. Cheers, Amy

[Gordon (NZ)]

Hmm. "Yamaha Band" must be a marketing term used in America.

I tried the French horn for 6 months when I happened to have on here, but no treatise, sorry. (But I don't think it is as difficult - relative to flute/picc - as players make it out to be.)

Amy, I will need your email address.

[Amy]

Sorry I forgot! :oops: david.walker97@ntlworld.com
thanks

[Amy]

Thankyou very much for your help book for the flute. It's great!

Amy

[Honeyboy]

Gordon NZ: Are you still sending out your beginner instructions? If so, Please send me it. Thanks Honeyboy. saxnaxe@hotmail.com

[Gordon (NZ)]

Sent.

[Honeyboy]

:D Gordon NZ; Thank you. I am finding your instructions very helpful. Honeyboy

[Gordon (NZ)]

Happy to help. Much of the content crystallised in my mind since I stopped teaching, and I became a little more aware of a few acoustic principles and properties of airflow from studying mechanical engineering. The student who emailed was a sort of catalyst for aiding the crystallisation. Quite a symbiotic and synergistic growth process for both of us.

I am now well removed from the mainstream of flute teaching, which seems to me much more based on images, intuition, and psychological crutches, rather than detailed understanding of what is going on. It would be fun to do some live teaching again, using my new perspectives, with a handful of 'guinea pigs', to see how a different approach works. Hehe!

[Honeyboy]

Sounds good. How much would it cost for an airplane ticket from Phoenix to New Zealand???

[Gordon (NZ)]

LOL!
Too much for me to have come to Phoenix!

[Jawschlech]

I'm beginning on flute as per request of my jazz band director, and I'm having problems with the air flow and getting my embouchure correct. I'm taking flute lessons from the same person who gives me tenor sax lessons, and he actually recommended that I look up some of your posts here, Gordon.

Could I get a copy of the correspondance as well? Sorry to pile on more requests ;) My email is GreenYrinth39@yahoo.com .

[Gordon (NZ)]

No problem.

[Gordon (NZ)]

But there IS problem. It could not be delivered because the file was too large. That must be because of a computer setting at your end. Is there a way to solve that?

[primetime]

Hey Gordon,

You're a lifesaver, but you probably know what this is about! If you could zap one of those flute treatise over my way, that would be excellent! You really are a great guy just for doing all of this e-mailing! How's the server treating you? Thanks much in advance!

-P.T.

-primetime@rock.com

[Gordon (NZ)]

Sent. No problems with the server.

Sent: 04, 05, 08, 10, 16

[armada1905]

id be the happiest man on earth if you send me a copy !!!!

rens4754@hotmail.com

thnx!! :wink:

[orions_belt27]

could i please have one too? appreciate it~ thank you :)

orions_belt27@yahoo.com

[saxguy9345]

Hey Gordon could you send to saxguy9345(AT)hotmail.com please?
The flute is in my lap and I'm passing out... haha help..

[primetime]

Hey Gordon, thanks for the flute treatise, but it hasn't helped me too much because my email inbox has shown no treatise, so if it isn't too much trouble, could you send it to my alternate address, which is

enchantingwizardofrythym@yahoo.com

Thnaks a lot!

-P.T. 8)

[j44breaker]

Gordon! Pass it on please!!!

j44breaker@aol.com

--Joey

[Bnatural]

hey all... if gordon or someone wouldn't mind sending me the flute thing it would be much appreciated..... thanks....
my email is steeler901@earthlink.net

[Gordon (NZ)]

I have been sending to all who ask. A reminder that it is 177KB, and gets rejected by some recipients.

And I edit my post (eg this one and the last one) to show which dates I have sent, in order to keep up to date with requests, without reporting ever time that it has been sent.

Sent: Aug 18, 19, 19, 23, 25

[goodsax]

Hi Gordon, If one more copy isn't asking too much, please send to rfleming@socal.rr.com and I promise to provide beta testing type feedback in terms of my old guy wannabe flute player success with it.
Thanks,

[JoeP]

Gordon (NZ),
I just picked up a flute and would really appreciate your notes.
Thanks,
JoeP
jpangrazio@earthlink.net

[CityStone]

Hi Gordon, can you mail me a copy too at me@junbin.com? Thank you so much!


Anyway another minor thread-within-a-thread I would like to post here...Have read about open holes and closed holes, and found that the consensus is that there is not consensus. Some people associate open holes with "pomp" and "fashion" and "cosmetic" and "image", and others associate it with "better playing", "better feel" etc...

I would be getting my own closed hole model soon (more due to price that anything...)...but from personal experience, open holes I feel should be made the standard because they allow techniques which would not be possible with closed hole models....

I haven't tried playing a "western" flute before yet - that is the flute all of you are familiar with....I am a chinese flute player before I picked up the saxophone. They are technologically simple bamboo flutes with just 6 finger holes (and some others meant not for the fingerS). Their design is largely open holed, and it is possible to do "shading" on them (if I managed to get the english equivalent of the term correct). i believe this can be done on open hole models too but definitely not on closed hole models....

I suppose missing this technique out on closed hole models is not significant yet because traditional and most current flute parts and solos do not commonly incorporate this technique (its very common for chinese music), but i suppose this may change as time passes....so a open hole model i think would be good, if not just to allow us to practise on "shading"....

What do you guys think?

Stone

NB : In case I may have mis-interpreted what is meant by shading, the technique i am talking about is actually called "hua yin" - it involves pivoting your fingers just by the hole, and then covering up the hole gradually as you play the note. Suppose you want to play the G, you would start with the fingering for A, with the finger meant for the G pivoted by the G key, then lower the G finger slowly until it covers the hole completely, blowing into the flute all the while...it gives the effect strings have when they slide their fingers from one note to the next....

[Gordon (NZ)]

CityStone, so as not to mess up the topic of this thread, I have started a new thread to discuss this "shading" issue, and open-holes.

[zadu]

Gordon (NZ),
Please, if it is'nt an unwelcome burden, include me in your next Emailing of your condensed work. From the above enthusiastic commentary in response to reading it, I'm assuming that it is very helpful. I could surly use some advice on my flute technique, because right now I have to stop playing when I can no longer tolerate the combustion noise associated with all my poorly articulated attacks.
Your cogent posts regarding the subject of doubling , and those dealing espicially with the subject of repair, have been so very welcome by me and I think many others who must keep their technique and various instruments in good shape.
Thank you for sharing your knowledge, vigorous wit and experience.
zadu2222 (at) hotmail (dot) com

Yamaha Band and Orchestral Instrument Division is the sales arm of the company in the U.S.
(edit aug 2nd)
Just got your note on flute playing..Thanks! The discussion of hand position helped me a lot. I've always had trouble getting the left hand in a free position, a little too far below probably.

[kZepp17]

Hello! I'm going on my 7th year playing saxophone, I'm a junior in HS now, and recently I've been trying to expand my musical vocabulary. I'm lead alto in my school's top jazz band, and 3rd chair in the top concert band. Over the summer I started learning marching baritone, I may be trying out for a drum corps this summer. Last year in our Jazz Ensemble we had a clarinetist, but she doesn't do jazz anymore. I've thought about possibly picking that up, to give me more solo options. Also last year, we had a song with a flute solo in it, but we never played it at a concert because we had no flutists!
One direct inspiration I had for the flute was when I saw the NIU Jazz Band perform. The entire saxophone section busted out flutes for a soli. Needless to say I was impressed.
Anyways, to make a long story short, could you send me a copy of that email- mikeknepper@yahoo.com
Thanks in advance!

[Gordon (NZ)]

Sent.

I have intercepted many worm type viruses lately, possibly because so many people have put me in their email address books. So please may I make this request, that anybody I have sent this information to, do NOT put my email adress in your address book. If it goes there automatically, please remove it. Thanks.

Email sent: Sept 10, Oct 18

[conrath]

OK Gordon. YOU'RE the one responsible for getting me into the flute a year and a half ago. I was completely content with my tenor sax, but NOOOOOO, it wasn't good enough. The GRASS is ALWAYS GREENER.

Actually, I'm thrilled you "talked" me into the flute...I wish I would have started off with it in the first place!

Could you pleeeease send me your notes?

Thanks for everything!!

conrath@alltel.net

[rek]

Gordon, I'm thinking of trying the flute. Can you please send me your instructional material. Thanks very much,

tniwrek58@hotmail.com

[tubbycub]

I have a question on holding the flute. I noticed that the fleshy part of my right palm tends to hurt a lot (muscle strain I guess) if I play continuously for some time. Also, my left pinky tends to cramp easily and I need to put down the flute to manually uncramp it. What can I do to correct this problem?

Thanks!

[pat]

Gordon,

After a couple of decades on the saxophone, I have finally started on the flute. Started about a month ago. Could you please send me a copy of your information? Thanks,

dalton@ann.to

[Tharruff]

Gordon,

I'm a little late jumping on this thread but as a long time Sax and Clarinet player, I just bought a flute about a month ago to try to learn to play it.

Could you send me a copy of your flute treatise as well ?

Thank you.

Tharruff (at) sterlingpcu.com

[Gordon (NZ)]

Done

[I. Fallon]

Hi Tubbycub. This is Irv. I am going to take a stab at answering your question.

Have a tech check for leaks in the flute. You will tend to tighten your grip to let the notes come out to overcome leaks, which is not good.

If you are very new to the flute and have trouble gripping it, try placing stamps on the lip plate, first joint of first left finger area, and where the right thumb rests on the flute. I made some plastic appliques that do this, but postage stamps would also work. (You will only need this for a few weeks).

Good luck.

[FJODan]

Hi Gordon,

I'm just another wannabe sax player who wants to become a wannabe flute player :D I'd really appriciate a copy of your lessons if its no trouble.

nicechap_7 AT hotmail.com

Cheers mate!!

[Gordon (NZ)]

Done

[TerraNova]

Gordon- a fellow southern hemispherian!! I double on the flute for musicals and stuff, and have been self taught from the get-go. I would really appreciate having a read of your notes...

*HAIL GORDON*

terranova_@hotmail.com

Thanks so much in advance! My exams are finishing for uni tomorrow, so I have to get something to keep me busy! Why dont I just learn the flute PROPERLY! :lol: (On top of my newwwwwwwww soprano coming sooooon YAAAAAAAAY)

[billb]

Razzy:

Over a year I gave a member of this forum flute lessons - solely by email!
It seems to have been remarkably successful, all by question and answer, and my awareness of the sort of problems a flute player is likely to have when coming from sax.

You are welcome to an edited, (non-identifying) version of this correspondence as an email if you like. I think you'd find it quite insightful if you can be bothered reading it. The file size is 170 KB.

Can you please send me a copy of the email flute lesson?
Thank you,
billb
billsharp9@aol.com

[Gordon (NZ)]

Done.

[blueboy]

Had my flute for a week, and am struggling slightly with Gordon's advice (from his excellent email file) to keep the flute still and the angle of my air stream constant and over the top of the hole. I'm finding that the only way to play get the octave change is by adjusting the angle of either the flute, or preferably my air stream.

I know it is early days but I am an impatient learner!

Thanks

[Gordon (NZ)]

Using other props for octave changes tends to create problems later.
The change is done primarily with air speed.

Have you tried the change using only the head, securely blocked at the low end? This is the easiest way to get used to it using only air speed. Then try with the head only and the end open.

It is possible that for a beginner there is so little lip support that the lips are not capable of turning higher air PRESSURE from the lungs (i.e. 'puff') into speed in the airstream.

If that is the case, then you are just not ready to do the second octave yet. But try D & Eb, which are far more stable because of the use of an octave vent in the fingering. Also try third octave D, which is easier to get 'up there' than most of the second octave, again because of a vent in the form of the open first finger left hand key. Play these notes loud and clear, and then tackle the ones in between which do not have the benefit of a vent.

[Alan K]

Gordon,
Could you send me a copy?
Thanks
Alan
alan_lee_98@yahoo.com

[sw3119]

I have an old flute that I picked up at a tag sale. It does not work, I'll have to take it to the tech to see if it's worth fixing.

But I would like to double on flute at some point (ie when I get one)

If it's not too much trouble could you send me a copy of your
flute lesson as well.

cass@snet.net

Thanks.

[Gordon (NZ)]

Sent. Sent.

[blueboy]

It is alright for the flute to slant down a little to the right isn't it? Or would you encourage beginners to play with the flute more or less parallel to the floor and the shoulders square?

[Gordon (NZ)]

Slanting a little is fine. That allows the condensation to drip out the end.

[TerraNova]

Gordon -

I'm sorry, I requested a copy of your flute masterpiece :) and never got it... I wonder if you sent it to the right address? Or I deleted it by accident!! :oops:

terranova_AThotmail.com

terranova_@hotmail.com

Sorry... Thanks so much again,

Terra

[Gordon (NZ)]

Sent, 10 seconds ago.

[cocomero]

hi

i read now about this info file for flute embochoure
and i hope is not too late

thankz in advance

aleckos@tin.it

[Gordon (NZ)]

No problem.

[bdussy]

gordon,

could you please send me a copy of your much hyped flute lessons?
it will be very much appreciated.

bwaspe@hotmail.com

thanks

[Gordon (NZ)]

gordon,

could you please send me a copy of your much hyped flute lessons?
it will be very much appreciated.

bwaspe@hotmail.com

thanks
Please be aware that there has been absolutely no hype from myself, just an offer of the material.

And most of the stuff in this thread is requests and low-key 'thank you's, not hype. What do you actually mean by 'hype'? Or was the word just carelessly used.

Sent.

[cocomero]

hi

thanks for quickly answer i wait the instruction file
is like a txt.file?


Alessandro

[Gordon (NZ)]

thanks for quickly answer i wait the instruction file
is like a txt.file? Alessandro

I sent it two days agao, and have just sent it again.
It is in the form of a long email. 180 KB.

[cocomero]

hi

thanki is arrive maybe the first time i erased with other
spam mail for an error

now i'll try to translate
thanks again :lol:

alessandro

[pingflood]

I'd love a copy of this too... could you send one to 2001 @ bellsouth.net ? Thanks!

[Gordon (NZ)]

Sure.

[Mel]

Hi Gordon,

I used to play the flute. I'd love to read your lessons. If you get a chance, can you please send me a copy at

Thanks.

[Gordon (NZ)]

OK. Sent.

[saxmangeoff]

Gordon, I'm currently rededicating myself to bringing my flute double up to snuff, so I'd appreciate a copy for your flute file. Thanks in advance.

Geoff, the half-kiwi (American father, kiwi mother)

[Gordon (NZ)]

So far I have no way of contacting you.

[saxmangeoff]

So far I have no way of contacting you.

Sorry about that. I'm still a bit unfamiliar with this bboard software. I found the button in prefs to include my email link, so it's there now.

[Gordon (NZ)]

Sent.

[paulwl]

Gordon, I almost hate to ask, but...could you please re-send me your file? My hard drive crashed and that was one of the things that went blooie.

I just bagged me a new all-silver Gemeinhardt and am loving the four notes I can actually play after 9 months.

Thanks awfully, and I promise to back this one up!
paulwl@optonline.net

[Gordon (NZ)]

Done

[paulwl]

Most gratefully received.

[JS]

Razzy,
This might be slightly off-topic, but isn't Frank Mazzeo your sax teacher? Maz is one of the BEST woodwind specialists in the Philly area, hands down. He's a KILLIN' flute teacher - ask him for advice, he'll be glad that you did.
Also, I would suggest the following books:
"Tone Development Through Extended Techniques" - Robert Dick
"24 Little Melodic Studies with Variations (Easy) for Flute" - Marcel Moyse
"A Modern Guide to Fingerings for the Flute" - James J. Pellerite
"17 Big Daily Exercises for the Flute" - P. Taffanel & Ph. Gaubert
"Practice Books for the Flute (Omnibus Editions - Bks. 1-5)" - Trevor Wye
"Melodious and Progressive Studies for Flute (Bks 1-2)" - Robert Cavally

Have fun!

www.jimsaltzman.com

[saxmangeoff]

Thanks, Gordon. Got the message. Now the work begins. :-)

Geoff

[Krawfish3x]

could you send me one too? thanks.

krawfish3x@yahoo.com

[Gordon (NZ)]

It's my pleasure. Done.

[scoros]

Gordon,
Could you please send me a copy as well.
scoros76@yahoo.com

Thanks!

[area51recording]

Hi Gordon. If it's not toomuch trouble could you please send me a copy? Thanks!
boba51@sigecom.net

[Nefertiti]

Gordon,
I'd love to take a look at those flute lessons. Like you don't have enough to keep you busy. Thanks

[Gordon (NZ)]

I sent successfully to area51recording.

But I think I was unsuccessful sending to scoros because of "the recipient was rejected by the server" "553 - invalid addrss syntax?"

Weird. I can't see anything with the adress syntax.

Fixed. My fault, accidentally inserting a colon.

[Rhys]

Gordon, please could you send me a copy of your very popular flute lessons also. Thanks in advance.

info@andy-morris.co.uk

[Gordon (NZ)]

Done

[jedwardsb]

if u dont mind, gordon could u please send me a copy of ur flute manual. i just got it today and cant produce a comprehensible sound. thanks a lot. my email is jedwardsb@yahoo.com

[Gordon (NZ)]

No problem.

[Jazzer143]

Gordon I would greatly appreciate if you could send me your flute lesson emails. Thanks jhodge06@hotmail.com

[Gordon (NZ)]

Done

[Jazzer143]

Thanks alot Gordon, this is really great stuff! :D

[synchro]

I would also like to please ask for a copy of the flute lessons if its not to much trouble as I will be taking it up soon.
shawn@calcrests.com

[Gordon (NZ)]

Sent.
Also to Destonius, Sassaphone, Eulipion2, Ahnoeas, Joe, Jim, Teuchmi, Sassophone,

[Destonius]

Gordon, I would love to have a copy of your instructions as well, if it's not too late.

ledmirageb4@hotmail.com

Thanks a gazillion!! :D

[Sassaphone]

Gordon, could you please send me a copy of the flute file--I'm starting to think seriously about buying a flute. Email: al_mcclure@shaw.ca

Thanks,
Al.

[Destonius]

OMG!! It's great!! Thank you so much Gordon!! :D :D :D

[Eulipion2]

Gordon,
It's time to learn some doubles! Please send me a copy, if you will!
eulipion2 AT yahoo.com
Thanks!

[azulpurpureo]

please another copy here gordon, thank you. =) ahnoeas@hotmail.com thanks!

[j44breaker]

Hey Gordon,

Can I get a copy? J44breaker@aol.com.

Thanks--Joe

[JimMetcalf]

I would appreciate a copy of your document-am a long time sax/clarinet player (50+) years -needing to get flute chops up to speed.

[Gordon (NZ)]

Sorry, Jim, I have no email address for you.

This document is going to be posted somewhere in SOTW but I don't think that has happened yet.

[Teuchmi]

I'd really like to get a copy of it as I started to double with a flute a few weeks ago.
my mailo : s_teuchmi@hotmail.com

[Sassaphone]

Gordon, could you also please send a copy to:
al_mcclure@shaw.ca

Thanks.

[Gandalfe]

I've requested that we post this to the SOTW main Web site. It should be there shortly. Gordon has probably sent this to almost a hundred people. :)

[Rexone13]

Any idea when it will be on the main site! Plez post wen it is id love to get it!

Rex

[Rexone13]

But if it dosent happen soon could you PLEASE send a copy to rexone13@msn.com

it would be greatly appreciated! Plez plez i need help on flute and i cant find ne thing good!!!

Thanks!

Rex

[Sassaphone]

Thanks Gordon. :D

[Harri Rautiainen]

But if it dosent happen soon could you PLEASE send a copy to rexone13@msn.com

it would be greatly appreciated! Plez plez i need help on flute and i cant find ne thing good!!!

Thanks!
RexRex,
I have all the text from Gordon for some time. It is a huge file, and I am pondering what is the best way to publish it.
I guess I make the PDF-file available first, and then see if there is a need to split it into several parts.

You will see it in a few days.

[Harri Rautiainen]

Gordon's flute lessons are now available at:

http://www.saxontheweb.net/Resources/FluteLessons.html

I am asking Gordon to double-check the page before announcing it on SOTW pages.

The actual Adobe-document is 31 pages, and mounts to 183 kbytes for down-loading.

Enjoy, and thanks Gordon (NZ),

[Gordon (NZ)]

On another forum somebody asked how to get a first note from a flute.

Different teachers will have different answers to this of course, but I reproduce my answer here (slightly embellished) just in case it helps somebody:

Instructions for starting off playing flute.

1. Carry out the instructions in front of a mirror.

2. Never at any stage pull your lips tight around or against your teeth. (Imagine some small pins between your lower lip and your teeth.) See "Note 4" below.

3. Smile very slightly, just the corners of your mouth - just enough to take any slight wrinkles out of your lips, and make the lips gently contact the teeth . Make sure you NEVER bunch the lips up, even slightly, into a wrinkled 'pout' (which is what many people do when blowing across a bottle.)

4. Hold your head up. Ensure that one lip is directly above the other, without the upper lip overlapping the lower lip. You may need to slide your lower jaw slightly forward to achieve this. Both lips should be touching against an imaginary VERTICAL line, which for most people, would also touch the chin. Make sure that this lip position does not change as you work through the following.

5. Blow gently, STRAIGHT AHEAD, to create a tiny slit between your lips, say 14-15 mm wide, and 1 mm high in the centre. Do not blow hard. You should barely hear the air coming out. (See Notes 2 & 5, below.)

6. Make sure you have not altered 2 to 4. If you are doing 2-5 correctly, and you hold the palm of your hand directly in front of your lips, say 80 mm away, you should feel a cool wind against your palm, STRAIGHT AHEAD. Now for the flute position against your chin....

7. Get the flute head. Hold it vertically in front of you, with the open end pointing down and the embouchure hole ("EH") facing toward you. With your left thumb vertical in front of you, place it gently over the left part of the EH so that it covers 1/4 to 1/3 of the EH hole. Your thumb is exactly what you lip should soon look like in the mirror. It is IMPORTANT to note that you cannot see the edge of the hole that is covered by your thumb.

8. Hold the head in the left hand, keeping the hand away from the EH area. Completely block the open end of the flute with your right palm, or a cork - NO LEAKS! Without using the head, do a final repeat 2 - 5, checking all points in the mirror. Stop blowing. Do not alter your lip position. Bring the flute head towards your chin, making sure that the EH points upwards AT ALL TIMES. Rest the 'lip plate' of the flute against your chin, just below your lower lip. Wriggle it upwards or downwards until your lower lip covers 1/4 to 1/3 of the EH, and looks, in the mirror, JUST LIKE YOUR THUMB DID BEFORE. Make sure that the edge of the EH covered by your lip is nestled under your lip sufficiently that IT CANNOT BE SEEN IN THE MIRROR. If it can be seen, then it probably means you are forgetting No 2... Go over 2-4 more carefully!

9. Blow STRAIGHT AHEAD, as you did in No 5. Do NOT be tempted to blow DOWN into the flute. (see Note 1 below)

10. The note you get should be about the first Bb above middle C on the piano, or A if you used your palm instead of a cork. If it is lower (flatter)than A, you are blowing down, or blowing too gently, or covering too much EH, or looking down. (See "Note 6" below) If the note is a lot higher, about the third F above middle C on the piano, then you are blowing much too hard, &/or the hole between your lips is too small.

11. Check everything mentioned above, make VERY slight experimental adjustments, until you have a loud, clear, reliable, low note.

12. Now take the cork out, and do the same again. The note should now be the 2nd Ab above middle C, loud and clear. Push your finger in and out of the end, to give a wailing siren-like effect. (If your note is the THIRD Ab above middle C, you are blowing far too hard.)

13. Now block the end of the flute head again. Blow the air a lot faster, and press your lips a little more firmly together to make the slit a little smaller, to get the high note mentioned in 10.

14. When you can play these notes reliably, loudly, and clearly, you are ready to assemble the flute and try fingering different notes form a fingering chart. The easiest notes to start with are B, A, G in the first octave, and D in the second octave. As you go higher or lower from this area, your embouchure becomes more critical. As you go higher you need to blow the air faster, and through a smaller gap between your lips.

Note 1: Some players may be surprised about what I wrote in 10. Try this... Blow straight ahead into the palm of your left hand, without the flute. Now, WHILE you are blowing, place your fight index finger under your lip as if it were the flute. You will notice that the presence of the finger under your lip AUTOMATICALLY diverts the air a lot lower on the palm of your hand, even though you are still blowing straight ahead.

Note 2: You cannot get a clear note if there are obstructions within your mouth that make the air turbulent as it gets to your lips. So make sure that your jaw is sufficiently open so that the teeth are nestled against the lips. Try closing your teeth nearly together to see what I mean - the tone gets VERY fuzzy. This turbulence can also be produced if the front part of the tongue is not lying at the BOTTOM of the mouth during a note, or if the back of the tongue is raised almost to the roof of the mouth. If you blow into the palm of your hand, using a flute embouchure, the sound of the wind should be almost nil. If it loud, then you have probably somehow created turbulence in the airstream. Try creating it on purpose, to better understand this issue.

Note 3: I have not attempted to cover the issue of tonguing. There is enough to think about initially without that too. However it is very simple... Whisper "Toooo" into the flute to begin every tongued note, remembering Note 2 while the note is actually sounding. During playing, including before and tonguing the gap is normally maintained between the lips. The TONGUE is the 'tap' which allows the air to flow or not. Breath pressure is maintained behind the tongue before and during tonguing.

Note 4: To get a clean, non-turbulent airstream, that gets a clear note and does not waste air, there must be sufficient length of 'windway' from behind the lips, to the front of the lips. Think of a recorder and the approx 30 mm of windway needed to get such an airstream. Be aware that pulling the lips tight against the teeth greatly shortens the length of this windway.

Note 5: Some people have a small lump or 'tear drop' in the centre of their upper lip. If this is problem, then it is quite OK to blow through a lip gap slightly to the side of this. Many top professional players have done this. See http://www.larrykrantz.com/embpic.htm for photos.

Note 6: Three factors dramatically affect the pitch (tuning) of notes.
a). The higher the speed of the airstream, the higher the pitch.
b). The closer the airstream is to right angles to the far wall of the EH chimney, the higher the pitch. So blowing down into the EH, or tilting the player's head down (without 'rolling' the flute with the head), or turning the flute inwards towards the player, will all flatten a note)
c). The more the EH is covered, the flatter the note.

These parameters are adjusted in an ongoing manner by the player, note by note, especially as the required volume changes, in order to keep the instrument in tune while maintaining a good tone. This requires a lot of practice and careful listening.

If you have been a sax or clarinet player, you may have special problems relating to going from these instruments to flute. Some of these problems are addressed somewhat in the link in the previous post, i.e.....

http://www.saxontheweb.net/Resources/FluteLessons.html

Good luck!