This is patently not about simple system (keyed) or simple flutes I know.
The topic may end up in the the pub therefore.
However at some point there may be comparative comments about Bb obtained with keyed Irish flutes.
Anyway, in the last week I have obtained my first Boehm flute (a reputable brand) - second hand from a friend who plays these. The thing is dead easy on the embouchure compared to bansuri, Irish flute etc for me - no problems from low C to third octave. The main issue is developing right pinkie technique.
I got it for to easily play scales not easily done on my other long flutes
eg I am practsing the following on it for pieces that I need to accompany others on and some for my own compositions.
C harmonic minor C D Eb F G Ab B C
D Bhairav D Eb F# G A Bb C# D
G Phrygian G A Bb C D Eb F G
D Mixolydian D E F# G A B C D (just to keep the flute on planet earth)
an F scale that goes F G Ab B C Db E F (there is an indic name for this but I like the Eastern European one which I have forgotten - can anyone help?)
Gb Jog - Gb A Bb B Db E Gb
I trust you will understand why the first two are R pinkie demanding.
But my main problem is the Bb, the sound of it.
To my ear it sounds too sharp/bright although it does register flatter than the B.
Its the same whether I L thumbkey or R1 for it.
Thats precisely what I intimated when I pointed out the R pinky thing. I pointed out the two scales one with C D and Eb and the other with C#, D and Eb. ie both requiring on and off Eb posis and alternative pinky posis (for the C# or the C).
(Anyway I wasn’t seeking advice on the pinky, it was just a comment of interest about its challenge.)
My query is about the Bb. Didn’t I say that in my post and the topic title?
Denny is right: the Bflat should be perfectly in tune with either fingering if the pads are covering correctly. Another fingering for Bflat is by using the do-hickey key on top of the long bar with the R1. This key closes the one pad necessary to make a Bflat and great way to check if the pad is sealing completely.
I’m convinced that a Bb key is only a slight improvement over half-holing.
The ball of L 2 finger goes down on the edge on the foot-side of the hole for A.
This works well and automatically and enables you to ‘shade’ the note.
A Bb key is better but only a little.
Yes, you answered it but it didn’t have any result.
As I said in my OP both standard fingerings give a Bb. The pad already works and the result is no different with your deviant fingering (which is handy to have up my sleeve for posterity - so thanks for that).
given the inter workings of the mechanisms it is possible for one fingering to close a key while another does not (this is an alignment issue)
perhaps the flute is ill made
the thumb key is the usual one for anyone not in an orchestral setting
where they would likely prefer L1 R1
the R1 touch that closes the same key as the thumb is useful when Bb is an accidental
Please could you try not to horse around with my OP?
Thanks.
As I said before I don’t have a problem with the Eb key at all.
Its more about the MULTIPLE pinky function which I have not experienced in nearly 4o years of transverse fluting, namely:-
THE “WEAKEST” DIGIT doing FIVE THINGS (with FOUR DIFFERENT POSITIONINGS):
1)stabilising
2)playing Eb
2)allowing D (without 1)
4)playing low C#
5)playing low C
3) playing
I have already told you the pad seals OK and the fact that all positions give the same result means that your first sentence is off the mark.
I am getting a Bb but it is too bright. As I mentioned in my OP it may be a thing to do with my hearing of intonation (as per aesthetics of intonation) and I wanted comments from others on that.
I was seeking to be reminded of an “emic” name rather and so until I can find it from the Eastern Euro trad I’ll stick with the “emic” Simhendra Madhyamam
(Hans, you may have recognised this as a “mode” of Bhairav or Hijaz Kar from ma, from the 4th)
I think the emic term you’re looking for is maqam Hijaz Kar. Or spelled variously Hijazkiar, Hijazskiar, etc. It’s 2 Hijaz tetrachords (ajnas) of 1-b2-3-4, or semitone pattern 131.
Added: I now see you did mention Hijaz Kar above. As far as I know, that is the Balkan / Eastern European usage as well. For example, it’s Χιτζαζκιάρ (Hijazkiar) in Greek and Rebetiko usage.
thanks very much for those easy to understand links with useful info. ( I might start a topic in the pub on useful exotic sites).
yes, I noticed in the Arabic system, in some cases, the name changing on account of transposition. So, yes, if Greek is like Hindustani and Carnatic systems, where names of scales denote interval patterns and a scale name does not change on transposition, it is more handy as a universal reference.
Boehm don’t like no half-holin’ on his flutes 
