Review
“The veritable vade mecum for that instrument.”–Ovation.
“Absolutely crucial to every one connected with the flute and flute playing, from the professional to each public school teacher.”–The School Musician.
“A landmark in the creative writing of recognized artisti value of the flute and a will have to for both professional and novice flutist alike.”–Pan.
“The last section, which includes the orchestration and publishing data of flute creative writing of recognized artisti value from the Baroque to the present, is worth it is weight in gold–not only for the flutist, but for the music librarian as well.”–Library Journal.
“An necessary source book for flutists on each level.”–IThe Radcliffe Quarterly.
“Toff’s scholarship was impressive in The Development of the Modern Flute, and her latest effort reflects the same meticulous approach….a wealth of data when it comes to a arousing and attention holding instrument.”Choice.
About the Author
Nancy Toff is the author of The Development of the Modern Flute and Georges Barrère and the Flute in America. Highly valued as a writer, researcher, and lecturer, she has been a consultant to the Dayton C. Miller Flute Collection in the Library of Congress and the Department of Musical Instruments of the Metropolitan Museum of Art. A former president of the New York Flute Club, she studied flute with Arthur Lora and James Pappoutsakis.
Flute Pads
Teachers and flutists at all levels will welcome the return of Nancy Toff’s distinguishable one-stop guide to the flute and it is music. Organized into four main parts–The Instrument, Performance, The Music, and Repertoire Catalog–the book begins with a description of the instrument and it is making, offers selective information on choosing and caring for a flute, sketches a history of the flute, and discusses deviations amid members of the flute family. In the Performance section, readers learn when it comes to breathing, tone, vibrato, articulation, technique, style, performing, and recording. In the extensive analysis of flute creative writing of recognized artisti value that follows, Toff places person pieces in historical context. The book ends with a comprehensive catalog of solo and chamber repertoire, and includes appendices with fingering charts as well as lists of current flute manufacturers, repair shops, origins for flute music and books, and flute clubs and related organizations worldwide.
Flute keys have to close precisely on the tone holes to seal them from air leakage and then an precise tone may be produced. The only way this may take place is to insure the key is level and the tone hole is level and the pad has no holes or creases in them.
This is achieved by seating the pads in the right way and then bending the keys and testing them continually until you get the best seal possible. We test the seal in assorted ways. One of the most mutual ways is to use a strip of cigarette paper. You place it amidst the rim of the tone hole and the pad and then close the key to see if the paper is grabbed or slips out. If it slips out, that means that air may get out of that space and thence you will lose sound and volume etc. I use a jeweler’s eye loop to thoroughly question the hole more than I use the cigarette paper because I may get a closer look through the exposure and I find it quicker.
Bending the keys to make them level was at primary very scary. You are working on a $300.00 and up instrument and you’re taking a pair of flute pliers and bending the key to insure it is setting right over the hole. Yes, you now and again break the keys right off. At initial this is very unnerving but when you realize that you are suppose to be competent to fix keys that are broken off, then it becomes no big deal. Once you realize that all the pieces of the flute had to be made and soldered together, you may rest assured that you may fix anything. We have recovered flutes that have been stepped on, sat on, jammed in doors etc., etc.
Alright so we took out all dents and bends, which is a science all on it’s own. We made sure the springs are all intact and of the rectify tension. We have checked and substituted and seated all the necessary pads. Finally, we bent and leveled all the keys and their pads over the tone holes so that we get as close to a perfective seal as possible.
Then we clamp the keys shut, to make a deep imprint in the pad, thence making a very air tight seal. We do this by original using a little pad iron to iron out any wrinkles from any new pads. Then you soak the pads with alcohol (this is one method). Apply the person key clamps. Then you place the flute in a pad oven for a few hours. Pad ovens vary in size and shape. I use a long narrow leak light, which I put in the flute and then I put it in a wooden box. Some persons don’t use an oven.
After that, you’ll get a great seal and the flute will play great. The volume will be outstanding with no hissing or leaks.
After that if you give it regular hand cleaning and have someone a tech give it a once over each 6 months you get the best out of your flute and it will last a long time.
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Most helpful client reviews
54 of 55 persons found the following review helpful.
 Should be Mandatory Handbook for All Flutists
By A
This is an magnificent resource. It has whole chapters on breathing (including exercises and circular breathing), tone, vibrato, articulation, technique, style, and performance (including repertoire catalogue information). The recording division lists catalogues, play along tips, and how to make you own recordings. There are four chapters covering music of the Baroque, Classic, Romantic, and Modern Eras. The book is worth each penny, if only for the appendices, which include listings of flute manufacturers, repair shops, periodicals, music and book source information, and flute clubs and related oganizations, all with addresses, phone numbers, and a few E-mail or web page addresses. The 153 page repertoire catalogue is excellent, and lists publishers, so you may find just regarding any classical flute work easily. The broad chosen bibliography is likewise of interest, in particular historically, and is divided by topic, such as performance and technique, the instrument, biographies, or eras. The section on the instument and it is care includes drawings and photographs. The amount of exploration that must have gone into this work is amazing. The bibliography runs ten pages. The index is splendid and thorough. With regards to the sectionalizations on performance, breathing, etc., it would have been nice if a CD with examples and more drawings were included. Maybe this could be produced later to go along with the book. Hopefully, the author will likewise write a book with regards to popular flute music, with such a handy repertoire catalogue and web page addresses and flute links, including Amazon.com. This book is so great, I just ordered a second copy as a gift.
20 of 21 humans found the following review helpful.
 Great Reference tool
By Clement Kiew
Nancy Toff does an particular occupation with this finish and well-rounded reference book for books. Any info that one could hope for with regards to playing the instrument, buying the instrument, or listening to the instrument is included. The author also does well to give a lot of perspectives on a lot of flute issues, reasoning them out for the reader. The second half of the book on the history of a heap of composers is exhaustive and complete. The catalog of repertoire pieces in a table format with available publishers is worthful for any performer. Really a ought to own.
20 of 21 people found the following review helpful.
Comprehensive, useful, necessary
By Colleen R. Yeany
Nancy Toff has left not one thing out of this grand book — the history, anatomy, selection, and care of the flute in it is frequent and more esoteric forms; an broad discussion on the development of not only classical and progressed technique, but likewise personal style; building a repertoire and creating or finding performance opportunities; the history of flute music, and authorized suggestions for building a sheet and recorded music library; innumerable charts and reference materials — all has been included that a flute player, whether novice or professional, student or teacher, could and would want to know and reference in the course of their playing career. And if one happens to find anything not included, I feel convinced that Ms. Toff would personally see to correcting the matter immediately. An sheer must; look no further, oh wearied flutists (as Ms. Toff insists you are to be called, and not flautists, based on a well-researched etymological conclusion), for your salvation is at hand.
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