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3 contributions to Flute Forum
Inverted V shape tarnish?
Hi all! I'm new here. I am a sofware developer, started learning the flute almost three years ago at age of 47. I have a question, just out of curiosity. This ia a 6-month, almost new flute. It has already developed this inverted V-shape tarnish on the lip plate. Se same also happened on my previous flute. (I always brush my teeth before playing, and I always clean the flute inside and outside when I'm done) I tried to ask both my teacher and my technician, they both said it "can be normal", as we are all different, we all blow in defferent ways, etc. But does this happen to anybody else? Could it mean I am blowing in a "non-optimal" direction? Any other thoughts? Thank you!
Inverted V shape tarnish?
2 likes • 5d
Your blowing looks perfectly normal from how this forms. A lot of this is how different metals and grades of silver react to the acid in saliva. It doesn't hurt anything. If it bothers you with the headjoint removed from the body you can use a silver cleaning cloth or even a bit of a good silver polish and it will come right off. Just be be sure to clean it thoroughly after doing that, you don't want any fibers or polish getting anywhere near the body and pads. The few times I've thoroughly cleaned my headjoint I usually take the cork out, polish, then wash and rinse it well then put the cork back. I have done the lip plate a few times without taking the cork out but you need to be bit more cautious doing that. But, seriously it's nothing to worry about and I wouldn't bother with it between COA's unless I had a performance and wanted it looking it's best. Some metal types are just more prone to this and it depends on the individual playing and how their saliva reacts with it. It's nothing you're doing wrong and that's a very good direction it's forming indicating you're blowing is spot on.
Flute Music by French Composers (Moyse)
This collection is often treated as repertoire, but it also functions as a training ground. Many of these works were written for students of the Paris Conservatory, shaped by the demands of the Prix de Rome era, where control, clarity, and consistency mattered as much as musical expression. Winning was one outcome. The deeper work was the ability to perform these pieces with composure, accuracy, and intent under pressure. This question is not about favorites or rankings. It is not an essay. Question: What aspects of the French Flute pieces edited by Moyse clearly demonstrate their etudinal nature? Please share specific examples, whether technical, musical, or structural, that illustrate how these works shape a flutist’s development. New? Have you played any music from Flute Music by French Composers?
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21 members have voted
0 likes • Feb 1
@Antonio Herbert First off when I practice these it's always as it is. Then when I get refamiliarized with them I practice as I hear them. Generally, that's the same as written but as a performer I think we can go a bit beyond the page and play what makes the most musical sense.
Welcome
This space is for flutists who want to think clearly, share honestly, and build their craft together. There is no roadmap posted yet. We will start by doing the work and paying attention to what takes shape. If you are here early, introduce yourself however you like. You can also just read for a bit. We will build from there.
3 likes • Jan 28
Thanks Luke, nice to have a new platform!
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Mike Barbour
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15points to level up
@mike-barbour-8109
Former professional flute player

Active 5d ago
Joined Jan 26, 2026
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