I have an eight keyed flute on order. What do you think about the claw style for interlocked C# and C keys in terms of playability (opposed to other key systems)?
Lot of thanks!
I have one such. I like it. Or at least I don’t have any glaring suck-factor points about it to report, anyway.
Absolutely claw. It is by far the best available solution amongst linked action C#/C mechanisms (see below *) to the movement from a low C# to a low C (and to a lesser extent the opposite movement) short of a rod-axle Bohm type foot-joint key mechanism (which is significantly better again and was commonly adopted on later simple system flutes where the traditional 8-key mechanism was otherwise retained). Simple over-lapping “hockey stick” low C#/C touches are OK for the up-scale transition from C to C#, but useless/virtually impossible for the down-scale shift. The Pratten style touches where they are flush-surfaced when neither or both touches are pressed is a half-way house, but it still leaves a step between the keys when the C# is depressed and the C isn’t - the claw provides a curved slope to slide the finger up, greatly facilitating the shift. On a simple over-lapped mechanism one can do some gyrations of hand posture and R4 to play the C# touch slightly further in on the finger without really depressing it, with the extremity of the finger poised to roll on to the C touch… but it’s darn awkward! I have also seen rather rarer mechanisms where one or other touch has a roller (usually the C) and the plane of the other touch is set so that the C# can be pressed without interfering with the C but at an angle such that the finger can be slid from it onto the roller or (if the C# is the roller) onto it.
- There is an important alternative, common on non-English (or English inspired) simple system flutes, to whit having non-interlinked C# and C touches, where either can be pressed independently but it is also easy and reliable to play both simultaneously and to slide R4 from one to the other in either direction. The nach Meyer German style flutes usually have two adjacent tab-style touches while French flutes usually have a tab for the C# and a roller or false roller (looks like but isn’t) for the C, or even two (false) rollers. These can work very well indeed and evade the necessity of regulating the keys to ensure accurate interaction when the C key is pressed such that it also accurately closes the C# without that necessarily being touched yet thast the latter does not contact irs bed early and thus prevent the C key closing properly…
The English liked interacting C#/C mechanism; the Continentals weren’t bothered to have it and actually made positive use (in 3rd-4th 8ve fingerings) of the extra options afforded by being able to close the low C# tone hole (with the C key) whilst leaving the D tone-hole (closed by the C# key) open (see Rick Wilson’s charts etc.).
If I remember rightly, hasn’t Terry McGee done some work on foot-joint key arrangements? Go see his website.
I play an original R&R which has a claw and it is much better than most of the other arrangements I have encountered. On a bespoke new-made flute I would avoid plain over-lapped arrangements (never understood why Grinter and others have stuck with them…) if you have an option. I have played a good many flutes both new and antique with the plain “hockey stick” keys and they are never as good, even just to play the individual low C#s and Cs, let alone for moving between those notes. I have also played a good few Continental style flutes with independent action foot keys, and bar a few very poorly made German ones, the usually work well - certainly better than plain overlapping English style ones. If you want to check some of these out, my YouTube video clips demonstrate several different set ups if you browse about in them (my The Acrobat clip has 3 different ones - a plain overlap, a claw and an independent…), and a search here on C&F on my screen name and “foot keys” should bring up some old threads with (maybe, if the hosting links haven’t died) pictures/videos associated. Ultimately, however, there is no denying that the Bohm rod-axle solution is far superior and if your maker will make such for you and you have no aesthetic objections to it and are seriously expecting to make use of the foot keys/low chromatic playing to such an extent that you are seriously concerned about it… Late (v late C19th through 1st half C20th) Hawkes and Boosey Pratten style 8-keyers usually had such foot joints.
I hope something in here helps! I’d have liked to have hunted out and attached photos to illustrate, but haven’t time right now - sorry!