This is the PDF version – physical version available for £14.95
Philippe Barnes is the leading exponent in playing Irish Music on the Silver Flute and over the years he has perfected the techniques used he uses to make a classical flute sound like a traditional simple flute. In this 12 chapter book Philippe breaks down his ornamentation methods and how to best put these into tunes to make your silver flute sound like the true traditional thing.
“a wealth of information for silver flute players who wish their instrument to sound more like a traditional wooden flute. There are fingering hints, ideas on breath pressure – this has been deeply thought through and gives really useful practical advice. Indeed, the advice he gives is pertinent to anyone playing this music, not just silver flautists, especially when he goes into detail about playing ornaments, information which could be read with benefit by players of any instrument who wish to get further into this style of playing. It really is an impressive book – as a non-flute player I have found it both entertaining and really useful.” – Living Tradition Magazine
“hugely important book…Philippe is a master of those techniques…Irish Music Magazine’s John Brophy’s comment is quoted in the book; “I’ve heard nobody else who can make the Boehm flute sound like the true traditional thing, who can mould tone to the tune so nicely, the sheer musicality is exceptionally impressive.”…This is an invaluable resource for Silver flute players and is a great teaching aid; it should be in every secondary school music room in the country.” – Seán Laffey, IRISH MUSIC MAGAZINE
“This book serves as an ideal introduction for any Boehm flute players who are interested in exploring the traditional language of Irish Music. One of the most important elements in idiomatic Irish flute playing is the execution of a wide range of ornaments,and they are clearly explaned her and backed up with examples from the repertoire. Barnes stresses the difference between classical ornamentation (which is essentially melodic) and Irish ornamentatin where the focus is on rhythm. He disusses differences in hand position and an appropriate approach to vibrato, and covers techniques such as feathering, cuts, rolls, cranns, bounces and slides. Each technique is clearly explaned in straigntforward language, and there is plenty of repertoire included to help skills develop in each area. Recommended.” Carla Rees, British Flute Society Magazine