They all sound lovely , thanks to your great playing. Each having its own unique sound. I’d be happy with any of them tbh but if I was pushed I’d say the Muramatsu had a tone that I find particularly pleasing.
i don’t play woodwind brass or percussion i play strings, cello i just came to this channel because my orchestra teacher said to come here for performance basics 😂 👍 great channel btw
Hi I am a sophomore in high school and i’ve been playing flute for 5 years. Something I recently learned about my playing is that I throat instead of tonging. What i mean by this is that, instead of actually using my tongue to separate my notes in a “Ti” or “De” or “Ku” type of sound, i use “Hoo” or “Gu” or just “Oo”. I am a self taught flutist, so it’s not like i ever had a teacher to point this out. When i tongue like this, my tone is pretty good and the tonging sounds great, but i can never tongue super fast (like if i were to try to play Czardes) and also if i do octave jumps really fast there’s a throaty noise, (as in the beginning of Mozart’s Concerto in D major, a piece that i am learning for an oncoming contest). I am kind of freaking out because that contest is coming in a couple of weeks and when i do tongue regularly, it sounds like an airy toddler, due to the fact that i am at a beginner level with tonguing, but when i “throat” and i am going fast, you hear my playing, but also quietly underneath that, you hear an ugly gagging sound. If you could address this, help me crash course on tonguing, or let everyone who’s starting out to not be dumb, and that tonguing means, literally use your tongue, or build a time traveler to smack 6th grade me and tell her to USE HER TONGUE, that would be great. Thank you for reading.
Hi Angelica, you sound like you have quite a few issues that a teacher needs to address with your flute playing. For the time being place your tongue on the rough of your mouth and move it forward. Find the "nob" that in between the two front teeth yet still on the rough. That is the place that you will want to place the tongue. You next envision that the tongue is a point. When you say "ta" at that spot there should be a nice sparkly sound. To work on this I would use any scale or arpeggio exercise and tongue the entire thing slowly. At first only worry about tongue placement when you are doing that particular exercise. But as it gets easier move it into others: etudes, solos etc. Jumps are a different problem. I think you are trying to do jumps with your throat. That will make it tight. Try a yawning breath to open the throat and then do the jumps with a lot of support. See if this might help.
You've taught yourself some bad habits and need a teacher to basically start over. I read about a clarinetist who taught himself to tongue using the wrong technique; his teacher made him stop tonguing anything for a year before starting the correct practice.
Is there a reason you don’t go all the way up into the high C when playing scales? Otherwise, all of these sound great! 😉 Muramatsu and Powell all of the way
Okay, no hate to Muramatsu. I just don't get it, though. I played so many flutes when I bought my professional. Most were Muramatsu, and they were just very resistant. A lot were Altus. One was a Sankyo and 2 were Miyazawas. Both Miyas were the most freeing instruments. My flute teacher plays a Muramatsu. She sounds great. Most flutists do on them, but I don't understand why that feel is preferred. It feels very limiting to me.
You’re right! Muramatsu flutes are very stable and extremely consistent, but they’re very limited in terms of color and flexibility. They can play one set of tone colors, and even though they do it well, they don’t even come close to comparable flutes from Miyazawa and Powell in terms of color and flexibility.
They are ideal for players with frowny/relaxed embouchures because they almost always have a larger aperture. Couple that with a fast airstream, and you can produce a lot of color. I personally find the Muramatsu too dark, even listening to professional recordings. Just like I find the Miyazawa too sweet/not dark enough. I own an Altus and love it, but whenever I upgrade I'll be getting a Nagahara. Nagahara has everything I love about the Altus with a touch more warmth.
I've been watching a lot of the FCNY reviews on youtube and doing a ton of research on my own as well and I found that there are a lot of flutes that are exactly the same but have significant price differences. for example unless you are getting a Brannen with the Brogger system or a Miyazawa with a brogger system (its important to note that the Brannen with all the advanced options isa bout $13,000 while the Miyazawa is around $8,000 for almost the same thing but the Brogger systems are different on the flutes and are not available on other brands that I have seen yet.) you can spend about 3K for a sold silver flute with offset G, Split E, B foot and a C# trill key from Di Zhao, Pearl (which has the pinless mechanism) and Azumi by Altus. And I believe they all also have the high E facilitator. They all range from about $2,400-$2,900. Honestly other than paying for a name I can't see paying much more than that for the same style flute. Obviously if you want Gold or something like that on the lip place or even the whole flute it will cost more but for silver or even silver plated more than $3,000 seems to high for an intermediate flute.
Hi Monika, you've done a lot of great research! Although 2 flutes might have the exact same specs, they may sound very different from each other (and will also differ in price). Also, certain brands are also more expensive than others. That is up to the flutist to decide which they like the best. For example, when picking out my last flute about 10 years ago, I had 4 flutes with the same specs. One was cheaper than the one I went with, and two were more expensive. I ultimately chose my flute, not because of the price (although it didn't hurt!), but because I liked how I sounded best on it. I hope this helps!
Gina Luciani I agree that it ultimately comes down to the sound. And even the same flute can sound different between two different flutists. I’ve been researching what is best within my budget since I’m only playing for myself and not as a professional. I’d love a Brannen since I know it will probably sound like honey but it’s just way out of my price range. I love watching all these videos tho. And you do a great job! Thanks for the reply.
boris aranchuk the country of manufacturing doesn’t really matter. Nor the age of the company. A company 2 years old can make a flute as good as if not better than a 100 year old company depending on their manufacturing method and level of technology used.
Unless you are a virtuoso or top orchestra player you do not need to spend more than around $1500. Most flutes at this price will be perfectly adequate and spending more than this will not significantly improve your sound except in your imagination. Of course different flutes within a similar price bracket will sound slightly different, but the difference is NOT in the cost, rather it's the way the lip plate is designed and cut. THAT's what young players should focus on - getting the most vibrant sound on a flute head joint that suits them personally. The rest is just marketing nonsense.
Mura is totally handmade but Yamaha’s body and mechanism is factory made. Haynes Q series similar but quality hand cut headjoint made in US more expensive than in JP.
I will go for Muramatsu models!
My favourite was the Haynes.
They all sound lovely , thanks to your great playing. Each having its own unique sound. I’d be happy with any of them tbh but if I was pushed I’d say the Muramatsu had a tone that I find particularly pleasing.
i don’t play woodwind brass or percussion i play strings, cello i just came to this channel because my orchestra teacher said to come here for performance basics 😂 👍 great channel btw
the gold riser gave a nice full soft tone
Hi I am a sophomore in high school and i’ve been playing flute for 5 years. Something I recently learned about my playing is that I throat instead of tonging. What i mean by this is that, instead of actually using my tongue to separate my notes in a “Ti” or “De” or “Ku” type of sound, i use “Hoo” or “Gu” or just “Oo”. I am a self taught flutist, so it’s not like i ever had a teacher to point this out. When i tongue like this, my tone is pretty good and the tonging sounds great, but i can never tongue super fast (like if i were to try to play Czardes) and also if i do octave jumps really fast there’s a throaty noise, (as in the beginning of Mozart’s Concerto in D major, a piece that i am learning for an oncoming contest). I am kind of freaking out because that contest is coming in a couple of weeks and when i do tongue regularly, it sounds like an airy toddler, due to the fact that i am at a beginner level with tonguing, but when i “throat” and i am going fast, you hear my playing, but also quietly underneath that, you hear an ugly gagging sound. If you could address this, help me crash course on tonguing, or let everyone who’s starting out to not be dumb, and that tonguing means, literally use your tongue, or build a time traveler to smack 6th grade me and tell her to USE HER TONGUE, that would be great. Thank you for reading.
Hi Angelica, you sound like you have quite a few issues that a teacher needs to address with your flute playing. For the time being place your tongue on the rough of your mouth and move it forward. Find the "nob" that in between the two front teeth yet still on the rough. That is the place that you will want to place the tongue. You next envision that the tongue is a point. When you say "ta" at that spot there should be a nice sparkly sound. To work on this I would use any scale or arpeggio exercise and tongue the entire thing slowly. At first only worry about tongue placement when you are doing that particular exercise. But as it gets easier move it into others: etudes, solos etc. Jumps are a different problem. I think you are trying to do jumps with your throat. That will make it tight. Try a yawning breath to open the throat and then do the jumps with a lot of support. See if this might help.
Lmao quite a situation. Hope u made the progress u want
You've taught yourself some bad habits and need a teacher to basically start over. I read about a clarinetist who taught himself to tongue using the wrong technique; his teacher made him stop tonguing anything for a year before starting the correct practice.
Haynes Q1. Clear Choice.
I LOVE my Yamaha 677!
Hi can you do a video of all handmade soldered flutes from muramatsu,pearl, and yamaha 817 pls
Is there a reason you don’t go all the way up into the high C when playing scales? Otherwise, all of these sound great! 😉 Muramatsu and Powell all of the way
Gina, what was your favorite?
Sound on Yamaha is deeper and fuller than Muramatsu or Haynes.
Yamaha 's, best.
Muramatsu EX definitely beats the others. What does it go for?
Okay, no hate to Muramatsu. I just don't get it, though. I played so many flutes when I bought my professional. Most were Muramatsu, and they were just very resistant. A lot were Altus. One was a Sankyo and 2 were Miyazawas. Both Miyas were the most freeing instruments.
My flute teacher plays a Muramatsu. She sounds great. Most flutists do on them, but I don't understand why that feel is preferred. It feels very limiting to me.
You’re right! Muramatsu flutes are very stable and extremely consistent, but they’re very limited in terms of color and flexibility. They can play one set of tone colors, and even though they do it well, they don’t even come close to comparable flutes from Miyazawa and Powell in terms of color and flexibility.
They are ideal for players with frowny/relaxed embouchures because they almost always have a larger aperture. Couple that with a fast airstream, and you can produce a lot of color. I personally find the Muramatsu too dark, even listening to professional recordings. Just like I find the Miyazawa too sweet/not dark enough. I own an Altus and love it, but whenever I upgrade I'll be getting a Nagahara. Nagahara has everything I love about the Altus with a touch more warmth.
I'm always waiting for your appearance. I do not know. only me I feel happy and entertained every time I see you talking with your neat hair..😚😚😚
I've been watching a lot of the FCNY reviews on youtube and doing a ton of research on my own as well and I found that there are a lot of flutes that are exactly the same but have significant price differences. for example unless you are getting a Brannen with the Brogger system or a Miyazawa with a brogger system (its important to note that the Brannen with all the advanced options isa bout $13,000 while the Miyazawa is around $8,000 for almost the same thing but the Brogger systems are different on the flutes and are not available on other brands that I have seen yet.) you can spend about 3K for a sold silver flute with offset G, Split E, B foot and a C# trill key from Di Zhao, Pearl (which has the pinless mechanism) and Azumi by Altus. And I believe they all also have the high E facilitator. They all range from about $2,400-$2,900. Honestly other than paying for a name I can't see paying much more than that for the same style flute. Obviously if you want Gold or something like that on the lip place or even the whole flute it will cost more but for silver or even silver plated more than $3,000 seems to high for an intermediate flute.
Hi Monika, you've done a lot of great research! Although 2 flutes might have the exact same specs, they may sound very different from each other (and will also differ in price). Also, certain brands are also more expensive than others. That is up to the flutist to decide which they like the best. For example, when picking out my last flute about 10 years ago, I had 4 flutes with the same specs. One was cheaper than the one I went with, and two were more expensive. I ultimately chose my flute, not because of the price (although it didn't hurt!), but because I liked how I sounded best on it. I hope this helps!
Gina Luciani I agree that it ultimately comes down to the sound. And even the same flute can sound different between two different flutists. I’ve been researching what is best within my budget since I’m only playing for myself and not as a professional. I’d love a Brannen since I know it will probably sound like honey but it’s just way out of my price range. I love watching all these videos tho. And you do a great job! Thanks for the reply.
Please don’t comparecompare Japanese flute with Chinese Di Zhao flute. The Muramatsu company is 100 years old.
boris aranchuk the country of manufacturing doesn’t really matter. Nor the age of the company. A company 2 years old can make a flute as good as if not better than a 100 year old company depending on their manufacturing method and level of technology used.
@@LaMerleNoir216 guess ppl at the 13K budget dont like the sound or feel of di zhao
What peice were you playing?
Hi :) which microphone Do you Use???
What is the name of the flute excerpt?
Unless you are a virtuoso or top orchestra player you do not need to spend more than around $1500. Most flutes at this price will be perfectly adequate and spending more than this will not significantly improve your sound except in your imagination. Of course different flutes within a similar price bracket will sound slightly different, but the difference is NOT in the cost, rather it's the way the lip plate is designed and cut. THAT's what young players should focus on - getting the most vibrant sound on a flute head joint that suits them personally. The rest is just marketing nonsense.
Why is the cheapest one with a sterling silver body and the other two are plated?
Mura is totally handmade but Yamaha’s body and mechanism is factory made. Haynes Q series similar but quality hand cut headjoint made in US more expensive than in JP.
Haynes sounded great .
I loved playing it!
I play tuba and I don't know how I got to this video
Play indiana jones in flute
Gina, why do you pronounce Muramatsu like “Miramatsu” or “Meeramatsu”? It’s really not difficult, please learn how to pronounce it correctly!
@Leslie mispronouncing nonwhite names incorrectly after being corrected is a racist micro-aggression