What is 'good' tone?

[paddler]

I'm a fan of Harry Bradley's playing. In the clip above, and in the one below, he produces a very powerful, focused and resonant tone. I really like that sound.

https://www.youtube.com/watch?v=YvydW-jNm0A

However, for a stark contrast, listen to this clip of Kevin Henry. Its very different, and its certainly not pure, but there is something about it that is quite magnificent. I find it hard to pinpoint what it is, and I couldn't say if this is a good or a bad example of tone to strive for, but the music certainly has real energy and really connects with me. Its stark contrasts like this that lead me to believe that there is a very wide range of acceptable/desirable tone, and that other aspects of playing are ultimately more important.

https://www.youtube.com/watch?v=q8_BANg7Of8

[JCortese]

I'm a newbie, so my opinion is worth what you paid for it, but I tend to think of a good Irish flute tone as being somewhat bright and "crunchy," or "citrus." For a classical flute, I think of it as more "creamy" or "chocolatey." I'm afraid I can't illustrate the comparison without food metaphors.

[triplearth]

When comparing tone using recorded examples I think we need to be careful, or at least aware, of how important the recording itself is in how we hear the differences.

In the examples people have posted so far, think I get what's intended, but a few tweaks here and a couple of twists of the dial there, and each player's tone - or at least their 'sound' - could be made very different.

[Hup]

Melodic variation, rhythm, phrasing, playing well with others (adjusting on the fly to
intonation, "groove", pulse, style) -- these are the important things. But having a reliable
consistent tone makes it possible; it doesn't matter if it's a breathy tone, classically beautiful tone,
raucous party tone - just has to be your personal consistent tone. Notes shouldn't be dropping out
or cracking unexpectedly. I'm not claiming to be able to do this all stuff at ahigh level - but I know that's what
needs to happen if you want to be good on Trad flute.

[Akiba]

Melodic variation, rhythm, phrasing, playing well with others (adjusting on the fly to
intonation, "groove", pulse, style) -- these are the important things. But having a reliable
consistent tone makes it possible; it doesn't matter if it's a breathy tone, classically beautiful tone,
raucous party tone - just has to be your personal consistent tone. Notes shouldn't be dropping out
or cracking unexpectedly. I'm not claiming to be able to do this all stuff at ahigh level - but I know that's what
needs to happen if you want to be good on Trad flute.

Good point. Very true.

[UkesNeedLoveToo]

So all of the written descriptions are just long winded ways of saying 'listen to (insert player)'? And it doesn't matter as long as you get the correct feel (learned by listening a lot or from a teacher)? I get the feeling one can do it wrong and sound like a boeme player, which is 'bad'.
I was hoping someone could give an example of what is... less than desirable. And since we're so civil, i thought one could make their own recording rather than saying "this player has bad tone." If I get a chance after work today, I'll just post a clip of what I'm doing and let you all give a critique of my tone.

[Akiba]

So all of the written descriptions are just long winded ways of saying 'listen to (insert player)'? And it doesn't matter as long as you get the correct feel (learned by listening a lot or from a teacher)? I get the feeling one can do it wrong and sound like a boeme player, which is 'bad'.
I was hoping someone could give an example of what is... less than desirable. And since we're so civil, i thought one could make their own recording rather than saying "this player has bad tone." If I get a chance after work today, I'll just post a clip of what I'm doing and let you all give a critique of my tone.

In my first post on this topic, I did refer to recordings of myself that best exemplify what I think is good tone:

"Two clips from my link in my signature exemplify this concept of tone (which I am still working on and devloping): Brenda Stubbard's and Steely's Cut." Go to "Fluting Sound Clips" to hear them.

Again, here's my main point: A blasting tone, more like a brass instrument, is what I think is essential to good Irish flute tone.

[UkesNeedLoveToo]

In my first post on this topic, I did refer to recordings of myself that best exemplify what I think is good tone:

"Two clips from my link in my signature exemplify this concept of tone (which I am still working on and devloping): Brenda Stubbard's and Steely's Cut." Go to "Fluting Sound Clips" to hear them.

Again, here's my main point: A blasting tone, more like a brass instrument, is what I think is essential to good Irish flute tone.

And grand clips they are. I think that coming from a boeme background, albeit 30 plus years ago, I'm concerned about it more than I should be. I honestly don't have any trouble getting the overtone-y sound that seems to typify ITM I just wonder about whether I'm shooting for the right thing.

[Akiba]

In my first post on this topic, I did refer to recordings of myself that best exemplify what I think is good tone:

"Two clips from my link in my signature exemplify this concept of tone (which I am still working on and devloping): Brenda Stubbard's and Steely's Cut." Go to "Fluting Sound Clips" to hear them.

Again, here's my main point: A blasting tone, more like a brass instrument, is what I think is essential to good Irish flute tone.

And grand clips they are. I think that coming from a boeme background, albeit 30 plus years ago, I'm concerned about it more than I should be. I honestly don't have any trouble getting the overtone-y sound that seems to typify ITM I just wonder about whether I'm shooting for the right thing.

Tone develops over time. My tone now is very different from when I started. I also come from a Boehm, classical/jazz background and had to unlearn/change many things. I now hear other people's tone very differently as well which in turn informs my tone. I think we shoot for what we consider the ideal, and what we end up with is our own tone which changes over time.

[TWO TOOTS]

The more players you listen to - the more you realise the wide scope of tone and sounds this instrument allows. I've yet to hear two players sounding exactly alike. This instrument is just brilliantly versatile in allowing individuality to shine through. Expressive with a capital E. Welcome to the broadest individual collective on the planet.

[Gabriel]

Interesting topic, however for me good tone is what the player likes, and that's highly subjective - if he/she is after a soft mellow tone that's fine and good, and if she/he prefers to bark the flatware off the shelf that's fine and good too (however the publican's opinion might be different).

An objective criterion for me is tuning - the best tone (or the tone I like most) still makes my toes curl if the player is constantly playing a quartertone sharp. And vice versa, a mediocre tone, or one that doesn't meet my personal preference, is still fine to play with if it's in tune.

Of course if you're playing alone all the way tuning is not really an issue, but since I don't play alone most of the time, for me it is.

[jim stone]

To deploy in a somewhat different form an old Yiddish saying: 'When I die and go to heaven, God won't ask me 'Why didn't you sound like Matt Molloy?' He'll ask me: 'Why didn't you sound like Jim Stone?'" But it had better be a Jim Stone who recorded and listened to himself to see that he was in tune, who sometimes treated flooting as a form of singing, who worked to get the inadvertent tremello out of his breath, who listened to lots of flooters, who....

[dunnp]

Here's a whole load of Tom Morrison. I suppose his tone could be described as a bit rough in comparison to some of the syrupy sounds of some modern players. But rythmically he is doing so much.

https://app.box.com/s/vggp7a5ppc7s1e25dzj7

I have loads of time for Tom's music. I once spent a few months listening to all Chris Normans albums to challenge my preconceptions of his music. I came to really like it as well particularly for the depth of the mastery of it. His mastery of the instruments allows him to wear many hats tone wise.

Recently I went to see Jean Michel Veillon in a small church in Glasgow. He played a lot of slow music that had a sort of wispy quality and stayed in the high range. There was something so emotional about the whole thing though. It was an unreal musical experience. He was playing with the dynamics of the instrument in such a way as I've never really heard before.

On my way into work yesterday I was listening to the Paddy Taylor tracks on the new Reg Hall things and stopped and sat for a minute thinking no one sounds like that. Granted he played a relatively unusual flute. But it was so unique and round. Stopped me in my tracks really.

I think when one starts playing and listening to Irish music you get into the mindset of "oh I like that player, I like that regional style" "I don't like this or that" "so and so doesn't have the skills of Molloy" etc. I certainly did.

The more you really immerse yourself, the more diverse your depth of understanding is the more you appreciate the differences in tone out there. It doesn't mean you stop listening critically just that you learn to listen for more and different things.