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Hello,
So I've been slowly working on a 2.1 jinashi flute and now am at a point where everything works, all fingerings and alternate fingerings up into the third octave... except one.
I can't seem to get the alternate fingering of kan U meri to work right. If I use the normal fingering for the same note it works fine though.
The one I'm talking about is, hole one shaded, and hole three open, others closed. It makes a sound.. but not the right one.
Overall the flute plays quite nice and strong all the way up into the third octave. No particular tuning problems either.
I don't really mind all that much because I don't really even like using that fingering, but I do use it for some passages as it is more convenient for them.
Any ideas?
Thanks
Chris
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On my jinashi flutes I play u meri as following:
In kan: I have hole 3 and 1 shaded - rest closed.
(if we have notation communication problems here - in the sense of the names of fingering - I apologise beforehand)
Ahhh... there was a notation difference. Sorry, Bogert! I play what is called u meri in kinko notation with just 3 open and in kari position. I should have checked before writing. Apologies!
Good luck and let us know how you are getting on with your jinashi! I'd love to hear how different you find it to play and how many different fingering positions you have worked out!
Last edited by Kiku Day (2010-02-16 03:04:57)
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Bogert wrote:
Hello,
So I've been slowly working on a 2.1 jinashi flute and now am at a point where everything works, all fingerings and alternate fingerings up into the third octave... except one.
I can't seem to get the alternate fingering of kan U meri to work right. If I use the normal fingering for the same note it works fine though.
The one I'm talking about is, hole one shaded, and hole three open, others closed. It makes a sound.. but not the right one.
Overall the flute plays quite nice and strong all the way up into the third octave. No particular tuning problems either.
I don't really mind all that much because I don't really even like using that fingering, but I do use it for some passages as it is more convenient for them.
Any ideas?
Thanks
Chris
Hi Chris, Due to the cross fingering nature of this note, it is not expected to produce a loud ringing overtone like an open hole fingering. It will most likely work better if played with less blowing intensity. You'll need to find the right combination of embouchure angle and pressure mixed with with a variation of finger shadings (or half or quarter-holing of #1). There are lots of possibilities here.
I can't tell you what to do in the bore unless I have the flute in my hands but maybe I can tell you how to access the fingering for your particular flute. First, play Kan no Chi at the loudest volume possible while maintaining a good sound (proper harmonic balance), then put down #2. Does the note still work? If not, the #3 or #1 holes may be too small, they may need undercutting, or the bore shape is not right. Or, you may simply need to blow with less intensity. If it works, your Kan no U fingering will work (to some degree). If not, shading #1 will certainly not work either.
If it works, slowly begin to meri until you find the most stable position. Afterwards, begin to shade #1. At some point, the note may break due to the Jet pressure and volume. You will then need to explore a smaller and more focused embouchure to maintain the note in this fingering.
Let us know what happens.
Good luck! Perry
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Thanks, I'll mess around with it and see what happens.
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