Just stretching myself/my luck a little here - four different fingering systems, five different embouchures with different response characters, a newly learnt tune only just “off the dots”… What could possibly go wrong?
Interesting and thought inducing exercise, nicely played on an array of different fingering systems. Knowing diddly squat about anything outside the Simple System range of flutes, I would be interested to know which flute you favour, and why?
In the end I’m primarily an 8-key player and this exercise kinda reinforced that for me. The others all offer nice advantages, but also lose things. Given that I don’t do the work to truly master any of them to classical standards, I don’t massively favour any of them, rather enjoying each for itself. Bottom line answer, though, is probably that the 1867 is the all round best system for general non-ITM purposes and that particular flute, not well illustrated here, is probably going to be, when fully fettled) the most awesome sounding flute tone-wise. But (from both a behind-the-flute perspective and listening/watching back to myself) the best flute for ITM finger articulation and the expression that brings to the music in idiom is indubitably the 8-keyer, I agree with Ben.
Looks like we concur. The only time I have come close to this was when I attempted to play my son’s Boehm. On both occasions, although it felt relatively easy to fill and sound off, I could not get past the distraction I felt coming from the clacking sound of the keys. Much more preferable is the near " Silent Running " offered by a good eight key. (especially with purse pads throughout. )
Although from a listener’s viewpoint I have heard some remarkably beautiful sounds coming from wooden Boehm flutes.