I wonder if a low C hole would lower cross-finger G# to where it’s better in tune. In other words playing 1st octave G# with a 7th hole covered (xxoxxxx). I really don’t see much need for a 7th hole but if it could help provide a well in tune G# it might be worth it for just that alone.
i guess maybe i’m just not understanding, but what i’m seeing is…
drill a hole and then cover it in order to better voice the G#? how would it be different from not drilling and covering… the tube would be closed all the way down fom the A in either case wouldn’t it? xxo xxx vs xxo xxxx… what am i missing?
otoh… it would provide a nice D# if placed correctly…
be well,
jim
b-b-but the 7th hole would have to be where the whistle ends (actually C# near there, C would be even farther)
on the top flute from the left
embouchure hole
three left hand holes
three right hand holes
2 additional holes (C# & C)
even if you make the whistle longer the stretch is gonna get ya
A seven hole whistle will have a longer tube than a six hole whistle. Then by covering the 7th hole (xxoxxxx) the G# will (according to my theory) be lowered in pitch. The 7th hole would also provide a low C and C# but I’m mostly interested in how it would affect the pitch of the G#, a note that is usually quite sharp.
… seems to me i’ve read somewhere around here that somebody already makes a D whistle with a C hole?..
be well,
jim
I just tried this on my extended foot SZBE. As usual, fingering G# as xxo xxx is slightly too sharp. Fingering G# as xxo xxxx does lower the pitch. In fact, it lowers it to G-half-sharp! In other words, it overshoots the target pitch by a quarter tone. Oops.
I’ve got a D tube with a bottom C for my Burke brass session I made last year. The G# XXOXXXO is about 40 cents sharp, and XOXXX is about 10 cents sharp. In both cases the G# is weak. I much prefer half-holing G#.
Do you have a specific maker/model in mind? This depends on how much does crossfingering lower notes in the first place. For example, on one of my whistles XXO|XXX is useful for G#, on another for A finger vibrato (in the lower octave at least).
All the whistles that I currently play are Susatos (from high F down to G). They all have a sharp cross-finger G#. The high D Suzie has the best in tune G#. By easing up on the air stream I can get it to around 10 cents sharp which is okay. Some of the other whistles I can only get to around 20 cents sharp. Still usable (for my not too picky ears anyway) but not a great note.
I believe the instrument would have to be designed with that particular objective in mind. I have not spoken with any whistle/flute maker that have expressed that as an objective. If you want a seventh hole to provide a proper G#, I would place it up the tube quite a way, if you follow. No cross fingering involved.
Right! 
Feadoggie
I can get G# dead on with half-holing and I use it for certain situations but for alot of the runs and licks that I use, particularly jazz and blues licks, the cross-finger G# is faster and easier.
I have experimented with this, but I decided that bell stopping is a better technique for getting the bottom B (note below the bell note). Its easier on a wider diameter whistle and I can only do it on whistles in the key of C or above due to the length of my fingers.
Here is a short clip played on C whistle with a bottom B (one semitone below the bell note).
I doubt you will be able to tell there is anything odd going on:
Just tried it on one of my own D+ whistles and without testing it on a tuner, it sounds pretty close.
That said, I’d still half hole the G#. The low C note is a bit of a reach, so it would be tough to finger in a fast tune. Plus, half holing is a skill well worth acquiring. It’ll let you play that G# in both octaves, plus you can use half holing to get a good Fnat, Bb,Cnat etc. In most cases it’s MUCH easier than fooling around with cross fingerings and much more intuitive.
I wholeheartedly agree Brewerpaul, practice your half holes.