OK, how does one do rolls, crans, etc?
I’m not used to the Boehm keys. Is there
a difference in the way one approaches
ornamentation?
I wanted open holes for a couple of reasons–
I figure it will help my accuracy on simple
system flutes. Can you use these for
slides and finger vibrato?
I’m avoiding breath vibrato, having worked like the
devil to eliminate it in my Irish flute playing.
The advice so far is helpful. Thanks again.
Oh yes, it’s very different. Grey Larsen’s book covers some stuff on ornamentation using the Boehm flute.
Finger vibrato is not possible. You can sort-of slide, using a combination of sliding accross the open hole and slowly closing the key. It doesn’t work nearly as well as on the keyless flute, and it takes practice.
Dana
Damn, I want to hear Jim’s version of Yankee Doodle!!
Loren
Thanks, Dana. I have Grey’s book, will check.
I actually find the ornamentation to be similar. The key, operated by the finger, does what the finger normally does.
As for sliding, you can do that with your embouchure, by rolling in or out.
Open holes are more highly desired, but I think few players actually use them, except for some alternate fingerings.
What are they for? Why are they desired?
As Jessie said, the open holes allow you to use certain advanced alternate fingerings that I rarely (if ever) use. You can also use them for rudimentary sliding.
There’s a segment of players/makers that believe the flute sounds better with the flesh covering the open hole, rather than a full silver key with a felt pad. Whatever.., I’m not convinced either way. I think we’re dealing mainly with tradition. Traditionally, professional flutes have been made with open holes, and beginner flutes have used closed holes.
Dana
Now ya’ve gone an dun it…
We’re gonna have a page and a half of open/closed hole stuff for we get to the offset G.
please don’t let him know about the spit E
Good man Jim, ignore those smug bastards.
Followed by a split E. 
I have an inline G.
I’m grateful for any info about these flutes that anybody
will share, including fingering. Much appreciated.
In the US it is always a good idea to check the small print. 
So, basically, what I’m getting out of all this is that there’s primarily the embouchure to relearn, and the issue of dealing with a completely keyed instrument. Someone once told me that there are fingering differences in the Boehm system, too. Is this so?
I think that “relearn” is too much. It is a little different, so is bamboo. It is not a big deal.
F# is XXX OOX or XXX OXO
C nat is kind of like a thumb hole
The finger spacing is easier.
I was under the impression that it was much easier on a Boehm to play in, say, Bb minor than on a simple-system array. Play in Bb minor on my Noy? Yowch. I’m afraid I don’t have the nads to tackle that. Yet.
]
Right, and the Eb key is depressed on those F# fingerings.
And descending to E from the first one is harder
than from the second.
Bb minor? You’re talking 5 flats on a simple system!
It’s not a big deal on Boehm.
Jim, you know those little holes that are on some of the keys on your flute. I have mine covered with masking tape. Some flutes have little plastic plugs to accomplish the same thing. With the holes plugged up this way, you don’t have to worry about leaks from the fingers, especially if you are used to playing with piper’s grip on an Irish flute. Who needs the nuanced sound of a French-style, open-holed flute, anyway? The beginning plateau-style keys work just fine for me. A friend of mine has a plateau-style solid silver Haines flute that he performs with. I also notice that on alto flutes I don’t think that they even offer the open-holed models.
I find so many good uses for masking tape, so don’t get me started on duct tape.
Thanks. I’ve been training myself to play classical fingering
on the simple system. The French
keys are helpful cause either I’m spot on or
I lose tone. I’ve about got it.
Playing the atwill rudall copy helped too, because
either you come down on the hole spot on
or you hit a block.