Tenon Cork

Tenon Cork

A practical and comprehensive text on instrument repairs that commonly challenge the music teacher.

So you want to be a flute player. Well the best way to get the greatest or most complete or best possible results out of your learning and playing, is to keep the flute well maintained. I am a band instrument repair tech and I may tell you that galore of the instruments I see are in pretty bad shape.

Dents, dents and more dents. Flutes are a somewhat sturdy instrument but the ought to not be employed for play sword fighting or propping doors open or jamming in doors! I have taken a lot of dents out of flutes and straightened them out so their keys will fit over the holes again. However, dent remotion is rather highpriced and time consuming.

The head joint ought to be kept in good shape. The head joint tenon needs to be kept clean and free from dents and dirt so it will keep a good seal when fitted into the body. The head cork must be changed yearly to insure a tight seal also. This will insure the flute plays in key. The crown must fit snug but competent to be employed to adjust the head cork up and down for tuning purposes. Also, the lip plate needs to be held in good shape and free from dents as well as cleaned very frequently. After all, this is where you put your mouth to play the flute.

A word on cleanliness of the head joint. In these times of Swine flu and contagious viruses and germs it is critical that you keep the mouthpiece clean. I use a spray 9 and isopropanol alcohol combining to insure the head joint is clean both before and after I play test an instrument I’m working on. I suggest you carry 2 little spray bottles with your instrument and keep it clean and sanitized at all times.

Next we talk with regards to the body of the flute.

Tenon Cork Image

Tenon Cork Image

Tenon Cork Image

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Most helpful client reviews

11 of 11 persons found the following review helpful.
An splendid introduction to band instrument repair.
By Clarinet
This little book provides a very helpful overview of galore distinct features of brass and woodwind repair. There are chapters dealing with clarinets, flutes, trumpets and trombones, as well as references to a good deal of other instruments. This book evidently can’t cover each aspect of instrument repair, but it does an splendid occupation of supplying utile data and describing, in detail, practical repair proficiencies for the areas it does cover. The author knows how to write well, also.

3 of 3 humans found the following review helpful.
Buying after borrowing
By Michael Rasmussen
I’m buying a copy of this book after returning the library copy. The writing is clear and easy to understand. Common difficulties (example: middle valve sticking on a trumpet) are identified and covered, simplifying diagnosis.

3 of 4 people found the following review helpful.
OK–but limited
By J. Lindberg
Practical suggestions for the school music teacher. The fixed info regarding the saxophone is, I think, the weakest aspect of the text.

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