Since we are talking freely - and I do appreciate your opinion, even though you are very much in the minority with your thoughts - I must respectfully disagree.
I have personally queried 40 people or so who have put this book to use, both from the Festivals and in other arenas, as I have found having multiple experiences helpful when I go through a tome for technique and information. EVERY single person said this book helped them overcome blocks they had. EVERY single one said they struggled for months, and started playing their first notes regularly in short order. About a quarter of them had previous success with the Anasazi or other rim blown flute and still they only had good things to say about this book. This book was written, in my opinion, to help people who are fascinated by this ancient and daunting instrument, have had difficulty approaching it, and to offer them a helpful guide. I am sure the book will continue to evolve, as well, as new info and techniques are constantly being being introduced and fine tuned.
ALL that and more has been accomplished, in my and every opinion I have sought out, with regard to the contents in this book. Digressing, the reason I took so much trouble to seek out the opinion of others is because I am one of those who had extreme difficulty and have my sights on being a Master at this instrument because it is such a challenge for me. Some do not, but if you naturally take to the instrument on your own without the use of the book, I think its not an issue of this being a poorly written book when so much success has been attained by so many who previously couldn't play the Anasazi flute. I think its because you are a good flute player perhaps
. This book has taken the pain away for so many who might not be a good or naturally fluent with it as those like you. I do congratulate you on that, for you are certainly ahead of the curve.
This book has also allowed, for the first time, access to succinct instruction that actually takes the learning curve and turns it into a beeline, when a lot of people just let their flute collect dust. Again, I have HOURS of conversations in memory with dozens who were so excited with the progress they made after reading this book. It cuts the learning time very short for so very many, so that people can start focusing on technique and actually having fun with it because they absolutely can play notes within a couple of days or less.
I am not saying there are not others who may share your opinion for it is, above everything else, your opinion. There may indeed be others who find the instruction less helpful because they probably didn't need any to begin with. Granted, I would think that individual, like you, would be rare. And there is nothing wrong with that. However, I can say for certain you are in a most distinct minority and completely are on the other side of what the masses are reporting. As for TAB in guitar vs. NAF goes, the TAB for NAF is a transposing TAB, whereas guitar is not. Again, you are making assumptions that are yours alone. It's not guitar TAB and he never says its one line per hole. He didn't invent it, but adapted it. He then adds his compositions because lots of people ask for his work in TAB.
I am sure those that asked for this are most grateful. I was among those that did and considered this a great gift.
I and so many have made this book a priority if for the simple reason there is no other guide out there. If I was to take all the pages, and benefit from the embouchure instruction in about two pages, the price was worth three times what I paid because my "wall hanger flutes" are now being used instead of collecting dust.
I sound emotional I am sure, but that is because I am very excited with the journey my Anasazi flute has opened before me. I am finding it an inspiration to be introduced to, and to then learn more about the culture, the music, the archeology, etc. and finding myself being able to play this prehistoric instrument after so many months of failed attempts (mostly because I discovered in this book how to properly practice and play) is such an awesome thing; I find the experience like offering sweet incense to the Spirit of those peoples, and to honor the work of Doc Payne, and everyone that worked so hard to give life to this most ancient flute after so many years. This book solidifies this for so many.
How can this not be exciting!
I do appreciate your words, truly. This has been good dialog. But I have to respectfully and wholeheartedly if not adamantly disagree, and I do use the many, MANY individuals I have talked to over hours and hours of conversations to solidify my conviction and position. It is HARDLY a so-so book, and even intermediate folks I know say the book is a seminal and invaluable work...in Our opinion anyway.
QUOTE(Victor @ Dec 3 2008, 05:20 PM)
Hm. Permission to speak freely?
I thought this was a rather so-so book. The history section is definitely very interesting, and the section about how to blow the Anasazi flute is probably useful to new players; having a bunch of flutes under my belt I was able to figure that stuff out myself.
But after that, fully a third of the book is taken up by two written out compositions of Scott.
Then there is a section about the Anasazi scale in tab, that I think is pretty confusing. For instance, on page 24/25 there are three headings in a row: "Anasazi scale in tab", "graphic tab", "nakai tab". That's a tad confusing, because in Graphic Tab the Nakai Tab is already being discussed, and in Anasazi Tab the Anasazi Tab is not discussed at all.
Speaking of tab, I had the hardest time understanding the Nakai and Anasazi tab at all, until I realized they are not really tab, but just plain musical notation at a standard pitch. The only context in which I've seen "tab" is guitar (or other string instruments) playing, and then it's one line for a string no matter what note that string is tuned to. So at first I thought the tab in this book was really one line per hole. This impression is strongly reinforced by a quote on page 25: "A note on the next space up means lift the bottom finger". So by extrapolation every line means a finger. Not? Not.
Now I suspect that Scott didn't invent this "tab" but that doesn't change that it's pretty confusing.
Then in the back of the book there is a discussion about pentatonic scales, which is confusing because it keeps jumping from the informal definition ("like the black keys on the piano") to the technical "any scale with 5 notes. That discussion also overlaps quite a bit with what's earlier in the book.
There is the strange matter that several discussions in the book (including the notation part) start with a discussion of the "plains" NAF. It's sort of assumed that the reader is already familiar with that instrument. Probably true, but still.
So, interesting book, but if you're low on cash, don't make it your first priority.
PS my Scott August model Anasazi flute is beautiful. I'm really enjoying the Anasazi experience. Thanks again, Geoffrey.