![]() If alternate fingerings exist for any notes, find that out and experiment to see what’s going to work for you. It also works with the lung control, to control the release of power into notes.įirst, make sure you have the correct fingering charts for those notes and follow them exactly. This is because embouchure controls the diameter and direction of air stream. I can only relate experience from the silver flute, but here goes:ġ) Flutes are different from whistles in that they rely on the player to choose how to create and direct the air stream angle into the mouthpiece.Ģ) Embouchure is of course very important, but often needs to be adjusted according to the octave you’re in (first, second or third). I do play a couple that use the low C#, like The J.B. I still can’t get the low C, and I may never get there because while it’s probably just more embouchure work needed, I don’t play any tunes that actually require that note. That has to be just my embouchure getting in the right shape, learning how to adjust the angle, because I didn’t do anything else to adjust the keys or pads. Then after continuing to struggle with it for a while, the C# note magically appeared. With my 8-key flute I used to think that I could never get the C# and C notes because the pewter plugs were just not sealing well enough. The entire flute above those two notes needs to be well-sealed.Īnd then, the low notes need good embouchure support. Your fingers need to be tight enough on the holes as well. It’s critical that there are no leaks in the key pads or the headjoint cork, and that the C# and C pads or plugs seal well (can be tough with pewter plugs). Re: The Flute: How to play A,B, and C in the high registerīazza, regarding the low C# and C, I think it’s a combination of things that have to be just right. There is and entire ´sticky´ dedicated to fingerings to bring various notes into tune on traditional flutes on Chiff and Fipple. The answers to your problem can be found in these various fingering charts: courtesy of Jem Hammond. I do not have first hand knowledge of Barna Gabos´ flutes, but I am fairly certain it is some variation on the traditional Conic bore flutes more commonly found in Irish Traditional Music. Doug does a good job correcting the octaves with his version of the wedge, and this is what you are used to. Theobald Boehm chose to use a taper in the headjoint of his flutes, sometimes incorrectly called a ´parabolic curved ´ headjoint to correct these false octaves. Cylindical flutes do not have ´true´ octaves unless some form of correction is introduced. Doug´s flutes are cylindrical and use a modified ´wedge´ based on the Ramón Fajardo Wedge. Doug Tipple makes a fine flute, but it is different from a traditionally designed flute.
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