"What is the Step Up Flute?"

The first flute of the majority of flute players will be designed with ease of sound production as the focus. When players reach beyond their Associated Board Grade V examinations, they begin to desire more from an instrument. Not only are they required to play more complex and speedier technical passages, but their tonal requirements subtly change from ease of sound to quality of tone. This is where the student will look at the purchase of the 'step-up' instrument and will usually result in the teacher recommending the parents look at the purchase of a flute with a silver headjoint.

The headjoint therefore remains the primary issue with flute players of all ages and abilities. Trevor J. James & Co. remains unique in the flute market in that they offer a choice of headjoint designs on their range of 'Performer' Series flutes.

From the 925 silver lip and riser (P3) through the 925 silver head (C3) to the 925 silver tube (V3), the retailer and subsequently the player has the choice of either the traditional flat lip plate design or the 'shaped' slightly curved lip late. As Trevor J. James & Co. began our evolution through the manufacture of handmade headjoints for professional players, we understand the importance and variations of headjoint requirements. For example the more advanced player sometimes requires a slightly resistant headjoint which needs more work and yet can offer greater tonal and colour dynamics (traditional lip plate style) to the very open and large in the lower octave sounding 'shaped headjoint'.

"What next for the flute player?"

All flute players differ in their embouchures, tonal requirements, technical facility and ultimately their finances, however having a silver headjoint on a silver plated body will usually satisfy the player until they reach their Associated Board Grade VIII examinations.

From here on, the musician is creating a story through sound and not just playing a sequence of notes. The flute as a 'whole' now becomes the issue. Here is also where personal taste, teacher requirements and resources become the issue.

Is a silver tube with silver-plated pointed key-arms really worse than an all silver, gold or Platinum flute? The answer here lies purely with the musician as we are now entering the realms of personal taste. High value 'named' flutes can have kudos to other players, and yet can we really tell what they are playing when they are on the stage? The choice of silver, gold, open holes, C# trill, low 'B', D-C# roller etc. is now the choice of the musician as they sample and test a Brannen next to the new generation Miyazawa, next to a Mateki alongside the Sankyo.