I have a question as I wonder what you think.
I had my flute retuned by the maker per my request, various tones were not in tune - where now they are. With one exception, the C needs to be fingered oxx xxo instead of the regular oxx ooo or oxo xxx… It does introduce a big challenge for my playing.
Is it possible that for one tone to be in tune, another tone will have to take the sacrifice?
Is it possible that the flute is never really in tune and we all sacrifice here and there? unlike my non-tunable whistle…
How do you feel about playing the C using oxx xxo fingering? Anyone ever had a scenario like mine?
I guess oxx xxo gives a very muffled C.. What about oxx xoo? I use that fingering from time to time and it works acceptable. Though oxo xxx or oxx ooo clearly works better.
Of course the simple system flute always is a bit of a compromise. Otherwise Böhm probably wouldn’t have invented the new Böhm flute.
You could try to put a bit of wax into the C# hole (LH1), on the side of the chimney that is nearer to the headjoint. That makes C# flat, but may improve the “standard” C fingerings. C# can be stabilized and (a bit) sharpened by using oox xox and blowing harder.
Yes. Not just “possible” but a basic state of affairs in any simple system flute, keyed or keyless, regardless of quality and maker-skill - read any of the C19th and more modern literature on flute design and development and you will start to understand…
Again, yes, not just possible but actually, definitively so - and still true even of the best modern Bohm flutes, due to the underlying physics/acoustics and necessary and inevitable compromises that have to be made in design in order to achieve tolerably decent results across the full range of what is asked for from one instrument when perhaps several, or even a different one for every note would be the only way to achieve consistent sonic “perfection” for each note - clearly impracticable for actual playing, of course. As fluters we correct these inevitable compromises and deficiencies with embouchure technique more so on simple system flutes than on Bohm, but even on the latter, as well as using embouchure to compensate for temperament issues depending upon what other instruments we are playing with.
BTW, although the acoustical design/properties of a whistle are a little different from those of the transverse flute, many of the same limitations apply and similar compromises in practical design have to be made - ask any whistle maker! Your whistle is not so perfectly in tune as you may think!
As to your current fingering dilemma, presumably your maker has at your insistence sharpened a flat open C# by enlarging the L1 tone-hole. I’m surprised s/he didn’t explain to you the likely consequences thereof. As the C natural is achieved by flattening the C# by covering lower holes, thus increasing the influence of the body of tube below the open hole on the vibrating air column, the sharper the C#, obviously the more you will have to flatten it… oxx xxo is actually not an uncommon fingering for the best 2nd 8ve C nat on many keyless flutes and whistles (many Baroque flutes and my own Simple Piccolos, for example), though it is unusual to need it in the bottom 8ve. You have already tried the full range of possible 1st 8ve C nat cross-fingerings and are aware of the principle…, so, as Gabriel says, you will either have to re-flatten your C# hole or simply get used to the new fingering - which shouldn’t take all that long.
The keyed simple system pre-Böhm flute can be accurate in intonation (it has a Cnat key!), but has deficiencies in optimal venting and power for certain notes, which I think was a bigger reason for Böhm’s new cylindrical design and new key system.
Trip, another possibility is to add a thumb hole for Cnat. You’d be surprised what difference this will make for a well-vented and in-tune, powerful Cnat.
what do you mean you don’t care much how it sounds?
About the thumb hole,
as I’m holding it pipers way, there’s no way my left thumb leaving the surface of the flute.
Thank you so much for the answers…
I suppose I’ll have to get used to the new way! I must admit, the flute sounded great yesterday’s session. I love this flute!
After a few days playing like this, it might be too early to tell, but I think I’ll have to do a little cheating…
means that when I land hard on the C, I’ll have to make it in-tune, though when playing fast just passing on it, it will be the oxx ooo… Because it makes me feel crippled in a way, tunes that I’d play with 100% confidence are now seem out of rythm if I use oxx xxo only.
Also some ornamentation techniques have changed.
for instance, when I’d play e on the first beat after C, I’d land on the e like a boulder! oxx ooo → xxx xxo
now, I can’t do it anymore… oxx xxo → xxx xxo
It’s like I need to develop some other rythmic ornamentation here.
Same thing with the C-nat roll, the way to do it changed completely.
Have you tried reducing the first hole size?
You can experiment with cellotape/scotch tape,
like covering the top third,
and if it works, do a little more permant “fix” sticking some wax
in the hole on the top (head) side.
This can be removed at any time, if needs arise.
Such fix would lower the C# a bit, which may/may not be acceptable,
but also should give a more normal cross fingering like 0XX000 for Cnat.
A CNat thumb hole also gives you an option for an easy alternative c# with the thumb hole open, thus raising it a bit (if that is where you want it)… The original C sharp, vented D and cross fingered CNat are also available in their original form too. There are also some nice third octave fingerings with the C nat hole open (also available with the C nat key, but then it isn’t a keyless flute anymore…). And they are cheap.
But, piper’s grip will make that harder. Pity for you.
