Ideas, which manifested themselves in this domain, were:
The maker’s connection to the instruments, even after they leave the workshop was articulated. Their final destination, their use and the respect they commanded, were deemed to affect the maker. He said:
There’s no doubt about that, [feeling of connection to the instruments, which leave the workshop] especially if they’re looked after. I saw one that was really abused. I felt that what I had invested in that instrument had been disrespected.
The respect for the participating player in this study was apparent. The final context for this particular instrument gave the maker extra satisfaction in the process. The player’s ability was identified. “He’s a very good player, very versatile player and I think he could play anything.”
The maker was also mindful of the special requests made by the player.
One of the requests is that it’s a light flute. The keys will be light because the material I use is 3mm silver wire.
The feeling of high expectation was difficult to resist. The maker had a sense that the player would be happy with the instrument, partly, perhaps because he also, was feeling happy about how the instrument was evolving. “I have a feeling that he will like this one, it was a special job.”
The final outcome in a long process, the instrument itself offered many aspects for consideration:
Most powerful of all was the image of the flute consuming the maker’s very being. He identifies this power to consume from a player’s point of view also, when he mentions that he feels the flute is the most physically demanding instrument to play, due to the demands on the breath of the player.
With reference to the actual making of the flutes, the maker says:
I used up my resources, my eyes, I made myself tired doing it. I think if I didn’t make flutes, I wouldn’t have to wear glasses. It takes a lot of concentration.Hand in hand with this powerful notion is the need to have this personal loss, the personal investment respected. As the maker is connected to the instruments he makes, respect for the instrument also implies respect for the maker’s work.
Another remarkable comment on the power of the flute to do things, was the idea that the flute itself could indicate its own finishing point. Rather than bring a flute to the point of being “as good as it could ever be and [perhaps] beyond,” the maker waits for the flute to indicate its own level. “It may be where that [the flute] is coming out.”
The social characteristics of the flute were recognised. “Flute players are attracted to each other.” In part explanation of this fact, was the idea that, as the notes on the flute are very flexible, it caused the players to be particularly aurally aware of each other.I believe a flute is a very spiritual instrument. The breath is the bridge between the mind and the body. A flute player is always aware of their breath, even when they’re not aware of their breath.
The power of the breath itself, as a life-giving force, was also spoken of:
You are putting what’s keeping you alive into an instrument and by doing that you’re making a sound.
The idea of a one hundred per cent connection to the instrument emerged at this point:
You have to be one hundred per cent with it for the flute because... the sound is coming from the pit of your stomach. There’s nothing between you and the instrument. It actually becomes part of you.
In conclusion, the maker’s song of praise to the enchanting power of the flute:
It never ceases to fascinate me. I’m amazed at this simple instrument. I’m amazed by what it can do.
The player’s themes emerged with some overlapping of the maker’s themes. The themes, and the order in which they emerged, were slightly different:
Foremost in the player’s mind were concerns about the instrument. Throughout his interview, he held my flute (which is keyless and made from cocus wood by the same maker) in his hands. His immediate response to the instrument, both visual and practical, was enthusiastic and positive.
It’s very nice. It’s very responsive. I really like that colour. It’s nice and light. If it’s like this, yea, I think so [that I will really like it].
About as instantaneous as these positive reactions were his concerns about the possibility of the key work on the future flute diminishing the tone of the instrument or creating an irritating clicking sound.
He hoped it would be easy to play and described how he had to work hard to get his other flutes to play as he wished.
He said that he would rank the range of expression a flute could offer him most highly on his wish list. “I’m looking for a responsive instrument, that can play different types of music.” He expressed his high expectations in anticipating a new instrument:
I’m expecting this flute to take me to another level. I’m expecting the instrument to allow me to play out of my skin, to make me a better flute player.
He spoke about wanting a flute to suit him. He wanted to recreate the feeling when he got his first flute. He hoped the instrument would call him to play. He expressed his respect for the maker’s ability.
He also touched upon the power of the flute to consume:
I know that playing the flute is affecting me, in a negative way, physically. I wouldn’t have a pain between my shoulder blades if I didn’t play the flute.
He declared the flute to be his favourite instrument by far.
Next: A Flute Maker/Player Dyad — Part 5
A Flute Maker/Player Dyad — full index: Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6