Is there a ‘reliable’ or ‘comprehensive’ 3rd-octave fingering chart for concert (‘Irish’) flutes? I’ve been able to get a few notes of the third octave out of my D Sweetheart, but the specific fingerings would come in handy for songs in A or G, for example.
Here’s a chart from Terry McGee’s site:
http://www.mcgee-flutes.com/SixKeyFluteV4.pdf
Check out the other charts he has posted if this one doesn’t suit your flute.
Rob
Thanks! I’ll peruse the site. Sorry, should have said mine’s keyless, but I can work backwards along the link. Thanks again.
As an aside, I don’t know whether I’m “right” (if that’s even the correct word) but when I see the term “concert flute” I always assume it means, in trad terms, an 8-key, simple system flute. (If I saw the term outstide of a trad context I’d assume it meant a Boehm system, fully keyed flute.)
Ben, I think you are well aware that usage is contextual.
I have a receipt for the Seery keyless flute I bought from J McNeill, “The Traditional Music Specialists”, 140 Capel Street, Dublin in 1993 wherein the item is described as
Wicklow Instrument “D” Concert Flute
Usage is always contextual. Just observing what is conjured up for me by the term “concert flute”. I suspect (with no evidence, mind) that the meaning I’m getting from the term is an older meaning, and that the term has been taken up to include other types of flute in the more recent past. I dimly recall that keyless flutes are, at least for Irish trad purposes, a more recent development in any case. I think that’s right. I have a feeling that their use for Irish trad in modern times started in the States. Not that that matters …
Flutes from the second half of the 18th century and early 19th century (whether they were equipped with more than one key or not) often had slightly narrower bores than baroque flutes.
3rd 8ve on keyless is a bit problematic due to lack of essential venting by at least an Eb key. However, much is still possible. I’m not just now in a position to search and link it, but somewhere there’s an old thread about this issue re: a Seery keyless. F natural is the biggest problem, though a cross-fingering involving one half-hole can be a solution of sorts there. I kept a record of the fingerings I worked not on the Seery I had at the time - will add them here when I get on the 'puter at home. Meantime, a Baroque fingering chart will provide a starting place (cf Rick Wilson’s website), albeit the lack of the essential Eb key means not everything will be applicable or even work at all, and some things may work, but less well for tone or intonation than with the key.
@Ben: ‘concert flute’ was originally (and to some extent still is) in all contexts/usages a distinction from ‘band flute’, not about system but about size/pitch and use. Thus any full size D (C) flute is not a band flute, it is a concert flute; but extension of the original practical, descriptive sense may lead to people now using it to mean Bohm flute as the orchestral standard and excluding ‘folk’ instruments like the modern keyless ‘Irish’ flute… But the Irish tend to conserve the ‘not a band flute’ sense/usage.
Is this the one you mean?
https://forums.chiffandfipple.com/t/unkeyed-seery-blackwood-3rd-octave/49064/10
Best wishes.
Steve
That’s the way I understood it, but I saw a Comhaltas vid of a girl playing on a wood Boehm flute, and they announced it as a concert flute.
Don’t know the Irish language, but is the word for Flute the same as the word for Whistle, and they call the flute “Concert Flute” to distinguish between the two?
Aye, that be the one. Thanks, Steve.
Besides modern Fliut, you see Feadóg (whistle) and Feadóg Mhór (big feadóg = flute). And Feadán is any kind of pipe or tube.
No, I don’t think you can match up the terminology. The origins of concert flute are in distinguishing it from “flute” as a completely generic term for any air-reed-driven aerophone. It’s a distinction based on use, not morphology - though associated at different historical times with particular morphologies. And the generic usage persists in many languages today.
You’re saying the term “Concert Flute” was associated with particular morphologies at different historical times? Can you give some examples? I’m curious to see if the “concert” flute was whatever was used in the pro orchestras at a given time.
To some extent that is so, or at least it was used to describe a popular perception, not necessarily by professional or even amateur musicians. See the part of my last-but-one post in this thread addressed @ Ben, a summary I’ll stick with and which MTGuru somewhat morphed into his last. 
FWIW, I don’t think the term has a very long history - probably no earlier than mid C19th, though I have no authority to quote or research to back that suspicion with.
It is perhaps amusing, not to say confusing, to note that a modern US usage, at least in the music trade, is to refer to what we in GB would call “orchestral instruments” or “classical instruments” as “band instruments” - e.g. plenty of adds on eBay US for “band instruments” including, Bohm flutes, clarinets, saxes… Given the Guru’s CV (would that be “resumé” in Merkin?), perhaps he could elucidate that?
I have met many older people in Ireland who invariably called the flute ‘the concert flute’. Often to distinguish it from the other ‘flute’ we now call ‘whistle’.
Back on the OP’s Q, here’s a slightly added to version of the fingerings I worked out for the Seery and posted in that old thread Steve kindly linked above.
g'' xxx ooo
g''# xxo xox
a'' xxo ooo
a’’#/b''b xox oxo
b'' xoo ooo
c'''nat oxo xxo
c'''# oxx xoo this is more in tune and stronger than any other suggestions - and is in fact the standard 8-key
fingering for this note (with Eb key open!).
d''' oxx ooo again, the "standard" - and best fingering on this Seery
e'''b xxx xxo (poor and overtoney, but there if wanted)
e''' xxo xxo or try xxo oxx, but that is too flat on this Seery
f''' nat no workable pure cross-fingering that I can find – xDo xxo or xxo xDo may get somewhere
(D = half-hole)
f'''# xxx xox or try xox xox, but that is sharp on this Seery
g''' xox ooo or possibly xox oox, see which is best
g'''# oox ooo
a''' oxx xxo
a'''#/b'''b xxo xoo
b''' xoo xoo just about works - not wonderful, but there - a bit sharp, a bit ringy, needing to be pushed
quite hard with the embouchure rolled out a tad, or it drops out.
c''''nat xox oxo not bad!
My CV … Curmudgeonly Vanity? Cringeworthy Violin-playing? Cacophonous Vuvuzela?
For most of my life, a Curriculum Vitae was the kind of thing an academician would present, a lengthy sheaf with details of published papers, conferences attended, courses taught, etc.; while a resumé (and usually not the correct résumé) was a business-oriented work summary, often one page. But back in the 90s, thanks in part to globalization, I suppose, the European sense of CV became more common as a general term here. For example, at various points the company I worked for was (mis)managed by folks in Brussels, Munich, and Barcelona, and it was just easier to go with the terminological flow. 
I think “band instruments” simply reflects the hands-on context in which those instruments are more usually experienced by players here. Namely, marching bands, concert bands, community bands, wind ensembles, even jazz bands. Many high schools and universities may have no orchestral program, but robust marching or concert bands. My own HS orchestra was brutally bad, but the concert band was top-notch, as was the jazz band. Community bands are still popular everywhere, in the Sousa tradition (or maybe The Music Man!). And they’re not just brass ensembles as in “Brassed Off”. Except for urban and academic centers, community orchestras were less common, at least in my heyday. Hence the stronger association with “band” than “orchestral” in popular usage. That’s my conjecture, anyway.
Thanks for that, MTG - pretty much what I assumed, but didn’t really know, cultural stereotypes an’all! (Hastily ducks behind the bleachers…)
If I think about it, having been brainwashed on this side of the pond, I might reserve “orchestral instruments” for those likely to be found in an orchestra but not a band - such as the bowed strings, cor anglais, tympani, pedal harp, etc. But not in a rigid way. Our concert band, for example, included English Horn and tympani when called for by the score.
I moved a bit before mid way through the last four years of public school.
The school I moved from band existed to march and do halftime shows. The competed, at the state level and usually did well, every year. The might have played sitting down once later in the year. There was no orchestra.
The school I moved to was much less typical. Band director hated marching, sports, etc.