Hi all,
I’ve recently been toying around a bit with the “Nicholson” practice of turning out the RH section of the flute, to offset the finger holes of the right hand. I played around with it a bit, different amounts of offsetting etc and decided that i don’t really like it. I did however find that I get along very well with turning the RH section IN. Not a huge amount, not quite as much as the head is, but enough to make a noticeable difference. I find if the RH section is turned in (or the LH section is turned out depending on how you look at it), I can get a better purchase with my left hand, allowing faster and cleaner articulation and ornamentation with the upper notes of the left hand, whilst still being able to properly reach all of the keys quickly etc. I just wondered if anyone else had experimented with this and/or plays like this as it’s not something that I’d seen discussed before.
I think it is a matter of personal preference depending on comfort, grip and flute layout. I’d also think most players experiment with the alignment of the parts overtime. We each do what works best for us. Don’t we? Of course it helps to have a flute with separate right and left hand sections. Keys can complicate things. I tend to rotate the left hand section forward/out and the right hand section inward. I have some arthritis. I play flat fingered with both hands. That alignment helps keep things comfortable for me - takes a load off the fingers, hands, wrists and shoulders. YMMV.
My most preferred flute has a single heart section for the toneholes. This did not present an issue when I was younger. But as I’ve gotten older and stiffer it has. On that flute I tend to rotate it outward a bit when I play it. Again, whatever works for you.
Feadoggie
I agree with Feadoggie that this is vastly personal in nature depending on you, your flute, keys, etc. If I’m going to rotate the sections, I send to roll the LH section forward away from me and keep the RH section level. However, then I can’t find that pesky long Fnat key when I want it…so I usually just keep the holes inline and deal with it.
Obviously, whatever works best for you is best, but I definitely appreciate having a split middle section…single Pratten types of bodies would cause havoc with my left arm tendonitis and mild arthritis.
Thanks both for the replies, I know it’s just a matter of preference, I just find it a little strange that I’ve never seen it discussed. My session flute is an old pratten style keyless so I’m not playing a flute where I can rotate the sections most of the time, which I think is why I’ve never tried it out before. I wonder if anyone’s had a pratten body made with the holes offset like that. Hmmmm
I don’t recall seeing a flute made like that, probably been done though. It is more likely that you’d see a modern Pratten style flute made with a joint between the right and left hand holes. I’ve seen enough of those. Not sure if that messes with the Pratten mojo but it has been done. I have one in fact.
Feadoggie
Yes, it’s been discussed here before. Doubt these are the only examples, but at https://forums.chiffandfipple.com/t/posture-bent-left-wrist-and-numbness/83687/10 you’ve got Jayhawk liking your way and at https://forums.chiffandfipple.com/t/someone-to-test-something-on-a-keyed-flute-for-me/81357/28 me thinking it’s working for me. Though in fact I quickly realised it wasn’t and eventually had my flute made the other way (like an original Hudson Pratten, but to be played with RH on top and LH rotated towards me rather than Nicholson-style with RH ‘over the top’)…
https://forums.chiffandfipple.com/t/a-little-experiment-in-flute-ergonomics/89432/4
https://forums.chiffandfipple.com/t/four-keys-for-nine-fingers/78678/27
No question that I’d had have my one-piece body made your way if I’d continued to find that what I wanted, but happy that I got it right (for me) in the end and didn’t make any decisions based on initial bursts of enthusiasm for any of my experiments!
overall you’d want your combined leverage and grip to roll the embouchure firmly into your lower lip so you’re blowing is focused down into, rather than across. Rotating the lower hand section outward rather than inward feels more intuitive (to me) to achieving that effect but whatever works for you will be right enough. Someone seems to have notched alignment marks into my old Rudall for a considerable out turn and I’ve taken to playing it that way. Each to their own.