Each type has its own characteristics. Since the key cups are lid-shaped, the keys properly cover the holes, preventing the player's breath from escaping. It is typically easy to press the keys on a covered-key flute in a natural fashion, thanks to the inclusion of an offset key. The G key operated by the left-hand ring finger protrudes and is aligned to suit the length of the finger. Since the key cups are ring-shaped, covering the holes properly requires technique.
However, since the player can directly feel the air vibrations on his fingertips, he can control the subtle nuances of the sound. There is also the appeal that techniques such as finger-sliding allow considerable freedom to vary the pitch. The glissando technique is also available, in which a run of notes is played by gradually opening a key hole. I did the hunting for you:. Just a note ba doom psh , a student flute can have a B foot joint, as well.. The key flutes are typically flutes that have a B Foot Joint.
The B foot joint is a longer foot joint than the C foot joint and most often but not always especially on older flutes features an extra key called the Gizmo Key.
The gizmo key is a paddle on the lowest section of the flute the foot joint that gives the flute player access to a more stable 4th octave C source on a flute with a B foot joint. The flute has very complex fingerings in comparison to many instruments—another complexity that is found on some flutes is the C trill key.
The flute features 3 trill keys whose purpose is only to help trilling particular notes. The C is an additional therefore fourth trill key on many professional flutes.
Some notes in some octaves are very difficult to trill and the trill keys make these notes more possible to trill. There are several types of flutes that you will see in an orchestra. Ranging from common, to uncommon, to exotic. The tin whistle is one of the simpler flutes—in fact it is a fipple flute.
Instead of the musician having to blow at the exact edge of the embouchure hole to make a sound the tin whistle actually makes the sound if you simply blow into the instrument.
The length of the tubing is the primary factor in determining the exact pitch that the instrument plays, so having multiple holes on the flute is the only way to allow it to play a variety of pitches. Originally, the flute was made with only six holes. The reason for this is that six holes is sufficient to allow the flutist to play seven different pitches covering one additional hole for each pitch, starting without covering any holes , which constitutes a single key.
So, with a six-hole flute, we can play whatever songs we want, but only in one specific key determined by the flute that we are playing on. There was also an eight-hole flute, but this did not actually make it easier for the flute to play in other keys; it merely extended the range of the instrument and made going up and down the scale slightly easier.
This is not to say that the six-hole or eight-hole flute could not play outside of the key it was made to play in. By using creative fingerings which likely involve half-covering some holes , it was certainly still possible to produce all 12 pitches of the chromatic scale, and thus enable the flautist to play in every key.
However, this made it difficult to play in tune, and the fingerings were often complicated. Playing in a key other than the one that the six-hole or eight-hole flute was tuned to was much more difficult. This became inconvenient as composers began writing music in a variety of keys. Instrument designers began gradually adding holes to the flute to accommodate for additional pitches that the instrument needed to be able to play.
Sixteen tone holes is sufficient for a flute to play in every key. In fact, 16 holes is more than enough, and we probably could have gotten every pitch with fewer.
However, the goal of any instrument-maker is to make their instrument easy and intuitive to play. So, we not only need enough keys to make all 12 pitches of the chromatic scale possible, but also to make it easy to play in every key.
One core principle behind the design of modern woodwind instruments is that we want each sequential note in a scale to add or remove only one finger or as few fingers as possible, if we cannot limit it to one from the previous note in the scale. This clearly cannot be the case for every scale on the instrument, but an instrument will be much easier to play if the designer tried to follow this principle in general.
So, regardless of whether the flautist is playing a major scale or a chromatic scale, we want the musician to only have to move one finger per note. Many of the holes on the flute exist to enable the flautist to play a single pitch more easily than they would otherwise be able to.
The same is true for low C.
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