Please Note:
This was a successful effort in making larger holes (a little further South) work for “bigger sound” and it has that, to a degree, more than usual (which, my flutes are made for some volume anyway). It has an edge on, even, my other flutes in resonance, warmth, and volume. I wish I could keep it.
The flue is deeper and the holes larger, which I haven’t done in a while, but the large holes feel and play great.
So why not always do these? Because it did rob from another area (albeit rarely used, if ever, by most players): a compromised “second register” cross fingering or so . Instead of a more more standard (for me) G#5 from:
OOX XXO that then can open up into an A5 from:
OOX XOO
Instead you get a useable but sharp G#5 and the A5 doesn’t work (not that it works on most flutes, anyway).
Note: It’s an unusual fingering not used by most people or in many songs, so this flute is great for most people or situations.
This flute’s great for most players and/or any collection, to pull out for some good sound when you aren’t caring as much about using overblow or much second register (which many skip altogether). A bit less back pressure than my usual, but it doesn’t empty your lungs like it’s not considered.
Sounds addictively lovely in its forte of F# pentatonic minor, and the cross fingerings are okay, with one a bit sharp as is common in NAsF.
If it doesn’t sell I’ll post a demo… hopefully folks are starting to recognize my sound. Similar to Jon Norris from whom I learned much, similar to Butch Hall, maybe with a bit of M. G. Allen if you go by Martha Markusen’s lovely, flattering feedback.
Shipping’s only TEN BUCKS (I share shipping costs, including a premium shipping tube).
