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Post by jackinthegreen on Jan 7, 2019 22:57:42 GMT
Like Columbo.. If Ian picked up the flute by ear and didn't know the correct fingering, as he says, why did Martin not show him Martin supposedly could play flute, so why did he not offer to show Ian the correct fingering from day one It's bothering me...…..as Lt Columbo would say....
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Post by steelmonkey on Jan 7, 2019 23:41:39 GMT
Ian's lying......you can't play notes without correct fingering...he means the technique for how and where to place his fingertips on the keys as opposed to more sloppy way of pressing the pads down to close the holes. His daughter eventually showed him classic technique and his playing improved dramatically. As far as how he went about using the flute in the early years, I'm sure Martin didn't care or may have had equally random style.
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Post by maddogfagin on Jan 8, 2019 7:52:01 GMT
Like Columbo.. If Ian picked up the flute by ear and didn't know the correct fingering, as he says, why did Martin not show him Martin supposedly could play flute, so why did he not offer to show Ian the correct fingering from day one It's bothering me...…..as Lt Columbo would say.... Ian's lying......you can't play notes without correct fingering...he means the technique for how and where to place his fingertips on the keys as opposed to more sloppy way of pressing the pads down to close the holes. His daughter eventually showed him classic technique and his playing improved dramatically. As far as how he went about using the flute in the early years, I'm sure Martin didn't care or may have had equally random style. But there is the argument (friendly of course) that the untrained way of fingering and playing the flute that IA originally used, was part and parcel of the "style" of Jethro Tull and that the "trained" way of playing somehow changed the original sound. Have to get Ash's and other members who play flute to post their thoughts on this contentious issue perhaps 😎
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Post by steelmonkey on Jan 8, 2019 22:03:58 GMT
Early Tull was more characterized by his breathiness...which he conquered by TAAB except for effect. The pressing of the pads via fingertips rather than sloppy across the top method came much later.
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Post by geostrehl on Jan 9, 2019 0:49:56 GMT
You can play many notes with incorrect fingering, but the intonation will be wildly off. Also, for some notes, holding down (or letting up) a key can change octaves. Ian didn't know that, so most of his upper range playing was achieve through overblowing. My technique is absolute garbage, so I have to "cheat" in the same way he did. The funny "L" shaped key on the foot joint has been a great mystery to me, so I just blow really hard. Voila, "My God" just happens
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Post by futureshock on Jan 9, 2019 7:43:15 GMT
No idea what other flute players experience or do, but, having played flute for decades, and being far from instructor quality, I know that incorrect fingering is mostly possible and likely to develop in the highest and lowest register areas, for different reasons.
Once you are nearing the high end of the second octave and nearing the third C or above, options are available by controlling the air and avoiding proper fingering can be an attractive idea. I used incorrect fingering for years in that area, because it was easy if the notes for the C up to F were notes found alone, not in a longer phrase. The intonation error was extremely minor and could be counter-balanced by angling the air direction into the tone hole differently. Voila! The proper fingering in that area is not consistent in that range (up and down the flute, as with the first two octaves), so it can become far more complex and something amateur players may not practice enough. Up to the E or F may be played other ways with nobody complaining. But knowing the proper fingering does produce cleaner, truer notes and the inside scoop is that you want your notes to be true. (what? LOL)
Several locales of confusion: 1) The flute body design makes most notes impossible to get wrong (you hold down the wrong key, you're going to get the wrong note) in the lower two octaves, except near the C again, which is where the octave effect kicks in from the flute body being fully open to going almost fully closed again for accessing the other octave. 2) The lower registers, when playing between the F and going down to the C or B (on B foot instruments), often require the pinky finger on the right hand to press a key to open a hole on the lowest section of the flute; to keep all holes open in that area. It makes a noticeable difference in the intonation and note clarity on some notes much more than others. This is probably a flute player's #1 chance to make errors in note fingering. It really should be done correctly except on fast note runs where it's really difficult, so bother to learn. 3) Using correct fingering, the flute can put out notes going about 3+ octaves, but the quality of the flute design affects it's accuracy of intonation in the highest notes area and the ability to create those notes at all. It's a very difficult thing to hit the notes above the highest F with any smoothness, but practice helps at least find them. Playing them (ever) is easier if you use them as individual notes to go over to, to spice up a riff or phrase, rather than trying to include them in longer runs of chromatic or diatonic notes in that area, because as I pointed out above, all the notes up there each have an almost unique fingering, it's freaking complex changing all that fingering quickly. I can imagine a lot of flute players have the fingering charts for that area, but abandon it quickly because of this weird difficulty. 4) Trill keys. I rarely found those helpful for intonation and had to be used for quick trills only. They are part of the complex fingering used sometimes in the highest octave. Good luck using them!
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Post by maddogfagin on Jan 16, 2019 15:52:05 GMT
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Post by maddogfagin on May 4, 2019 14:48:56 GMT
My question, which has been puzzling me, is that seeing the actual percentage of Ian Anderson compositions that Martin Barre and his band are playing at this present time, how much in royalties can Ian Anderson expect to receive ?
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Post by jackinthegreen on May 4, 2019 19:14:05 GMT
My question, which has been puzzling me, is that seeing the actual percentage of Ian Anderson compositions that Martin Barre and his band are playing at this present time, how much in royalties can Ian Anderson expect to receive ? Good question MD I don't think that anyone playing live music has to pay royalties or even have permission to play people's songs, it's only if you record anything and sell it...…….mind you, Martin has recorded live stuff and made a live CD, but I'm not sure if it was Tull stuff...if it was then maybe royalties required to the writer there..... That would be a real kick in the teeth for Martin if he gets a bill from Ian
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Post by maddogfagin on May 5, 2019 6:29:57 GMT
My question, which has been puzzling me, is that seeing the actual percentage of Ian Anderson compositions that Martin Barre and his band are playing at this present time, how much in royalties can Ian Anderson expect to receive ? Good question MD I don't think that anyone playing live music has to pay royalties or even have permission to play people's songs, it's only if you record anything and sell it...…….mind you, Martin has recorded live stuff and made a live CD, but I'm not sure if it was Tull stuff...if it was then maybe royalties required to the writer there..... That would be a real kick in the teeth for Martin if he gets a bill from Ian From work.chron.com/much-money-paid-songwriter-performance-royalties-23011.htmlHow Much Money Is Paid to a Songwriter in Performance Royalties?by Johnny Kilhefner The amount of money paid to the songwriter depends on the format the song sells in, how many copies are manufactured, whether the song is performed much in public, how many streams the song gets digitally and whether the songwriter is registered to a music group such as BMI. Royalties, also known as mailbox money, are paid over time, usually quarterly, and can be negotiated for higher rates. Mechanical RoyaltiesThe Reproduction copyright guarantees royalties to songwriters for every unit sold or manufactured in physical form, such as CD, LP and cassette tape. These royalties are paid by record companies or companies responsible for the manufacturing. In the U.S., the amount owed to the songwriter is $0.091 per reproduction of a song. Outside the U.S. the royalty rate is around 8 percent to 10 percent, but varies by country. Analog Public Performance RoyaltiesAnalog public performance royalties come from the Public Performance copyright, where the songwriter is owed money for each public performance of their songs. The U.S., however, is the only developed country without the right for performer compensation for radio broadcast. Under U.S. law, public performance occurs only when the music is played in a place open to the public with a substantial amount of people. AM and FM radio, network television, cable television, live gig venues, airplanes, retail stores, bars, restaurants, etc., generate and pay these royalties to songwriters. There is, however, no standard rate; Rates are negotiated between the Performing Rights Organization and the songwriter. The government can adjust unfair rates, though.
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