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Jun 14, 2016. Other than that, the wood is wonderful. Serial number is 4854. All parts are marked Rudall Carte & Co. Sounding length is 600mm. It plays beautifully at 440 with the head all the way in. Embouchure measures 12.2 x 10.5mm. Asking $2950. A video demonstration of this flute can be found here:.
The alto flute is a type of Western concert flute, a musical instrument in the woodwind family. Flute maker Rudall Carte relaunches. It is the next extension downward of the C flute after the flte d. Western concert flute WikiVisually Based company produced some of the finest Boehm. Royce of flutemakers.
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A number of flutes dating to about 43, to. By which time the firm had become Rudall, Carte Co. A number of flutes dating to about 43, to 35, years ago have been found in the. The serial number on the body of this piccolo dates it to. Carte Boosey Hawkes acquired the wind. Brasswind Manufacturing at Boosey Hawkes, Rudall. And Critical Notices of.
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I have a Mollenhauer wood flute that was open G#. I couldn't get use to it, so I decided I would see if I could convert it to open G#. I tore the key work off, made new posts for the G#, made a new key, overhauled and replated it.
You can't tell that it wasn't stock this way.a fun experiment. The reason I think I couldn't get use to it wasn't beacuse the G# is backwards, but because the balance of the way you hold the flute seemed weird to me. Some people don't have a problem with it. Bruce can probably address this more, but I think you are limiting your resale value if you go open G# as fewer players use them. The open G# means that you have to hold the G# key closed for all the notes but G#. It is sort of like the Eb key which is open for all the notes but D. Some people claim it balances the flute since both little fingers are doing a similar job.
The only top level flutist I know who plays one is Hubert Laws. This got me interested in the open G#. Arya 2 Ringa Ringa Tamil Mp3 Song Free Download.
In recent months I have sound myself wishing I had one. I never concern myself with the resale value of any instrument I purchase. I only care if the instrument sounds good and if it feels comfortable in MY hands. Beyond that there is nothing more to really worry about when buying an instrument, is there? I think Bennett is using closed G# at this time. Torrent George Harrison Living In The Material World Spanish. To identify an open G#, it will look like a standard flute but the G keys will not be hooked together.
The lower one will have the G# lever attached to the hinge and a split between the two keys. There will be no hole on the bottom side of the flute. As was mentioned, fingering down to A is the same but G is fingered like G# and G# is fingered like G.
When playing any of the right hand keys, you need to keep the G# lever depressed. This will throw the balance of the flute off and is the reason that most of the old ones had the crutch for the LH palm. This way it can be balanced with the cratch of the left hand. I will make one to order but there are a lot of them on ebay. I do have a conn C piccolo open G# with a bakelite head that needs pads if anyone is interested in fooling around with the fingering system.
The last 2 Open G# flutes I sold were solid silver (Bettoney and a Selmer US) and each was $950. For the purists and not for sax players really. I have a customer who may sell an Armstrong 80B in gold plate open G# that was owned by a famous flutist.
Boehm's original design included the open G#, and he fought for years against the demand for closed G# (which was the standard with the older system) but finally gave in and started making closed G# flutes. I presently have one open G# flute.
I quite like the open G#. On the one hand the mechanism is much simpler than the closed G#: when you close the G# key the G key doesn't close at the same time--you close the G key with what is normally (on a closed G# flute) the G# lever. There is no need for a doubled G hole--one less place for the flute to leak. The big advantage is the fact that you can close the G key independently of the G#, and by closing this when playing high E you get the correct venting--it sounds as clean and nice as a high D or a split E (which does the same thing via some extra linkages as the open G# with the G key held down).
Boehm's logic was that there should be no reverse-sprung keys on the flute--pressing down on a key should always lower the note. Of course he didn't carry this to the rational extreme and have an open D# key--but years later Alexander Murray did do this with the Murray system (I had a prototype for a while--a bear to play, since you couldn't anchor the flute with the RH pinky). Perry makes the very relevant observation that if you learn open G# it creates problems if you double on any instrument with closed G#. This, in the end, is why I did not pursue the open G#.
Jmathesonjr, why not go the whole hog and learn the Murray system? Not only does it have open G# and open D#, it has a split F# so that every note is vented correctly. It would be perfect if it were not so hard to balance. I am not aware of the open D# or the split F#. I was wondering if any major manufacturers of the Flute: Powel, Haynes, Yamaha, Pearl, etc made an open G#. I figure it could be a problem with doubling but so is trying to think in 12ths with the clarinet. No problem is really there for the clarinet saxophone doublers nor is there a problem for the different Cs on the staff for the flute, clarinet or saxophone.
Each share some fingering similiarities, but none of the three are identical. An open G# is just a matter of knowing that on this one instrument you have to play G# differently. I am intelligent. I mean tuba players do this all the time when they switch from a F tuba to a Eb tuba to a CC tuba.
If a brass player can do it, a multi-woodwindist can. Jack Moore when he was with Armstrong was the maker that manufactured/prototyped the first Murray system flutes.
Jack is retired, don't know if he makes any of his own flutes any more. I'm sure one of the high end makers would make one if you had the right amount of cash. Eva Kingma makes an interesting flute as well. Matt I am not aware of the open D# or the split F#. I was wondering if any major manufacturers of the Flute: Powel, Haynes, Yamaha, Pearl, etc made an open G#.
I figure it could be a problem with doubling but so is trying to think in 12ths with the clarinet. No problem is really there for the clarinet saxophone doublers nor is there a problem for the different Cs on the staff for the flute, clarinet or saxophone. Each share some fingering similiarities, but none of the three are identical. An open G# is just a matter of knowing that on this one instrument you have to play G# differently. I am intelligent.
I mean tuba players do this all the time when they switch from a F tuba to a Eb tuba to a CC tuba. If a brass player can do it, a multi-woodwindist can. I am not aware of the open D# or the split F#. I was wondering if any major manufacturers of the Flute: Powel, Haynes, Yamaha, Pearl, etc made an open G#. I figure it could be a problem with doubling but so is trying to think in 12ths with the clarinet. No problem is really there for the clarinet saxophone doublers nor is there a problem for the different Cs on the staff for the flute, clarinet or saxophone. Each share some fingering similiarities, but none of the three are identical.
An open G# is just a matter of knowing that on this one instrument you have to play G# differently. I am intelligent. I mean tuba players do this all the time when they switch from a F tuba to a Eb tuba to a CC tuba. If a brass player can do it, a multi-woodwindist can. These come up on eBay quite often.
As they were most used in Europe you can often find Rudall, Carte flutes with an open G# (I had one). I've also seen Hayneses with open G#. I don't really see your fascination with open G#. It does not change the sound of the flute in any way, and if you have a split E the advantages are mostly nil. However I don't think it would be a big deal to convert closed G# to open G# (it almost always goes the other way, which is much more difficult). It would simply be a matter of splitting the G and G# touches on the axle, adding a spring, attaching the G# lever to the top touch and closing the side G# key.
Off the top of my head, a split E flute would be fairly easy to convert to open G#. If you bought two extra keys to use for parts, you could have a completely reversable modification if you didn't like it.
You would also have a multitude of more modern flutes to choose from with better scale and you wouldn't have to have it specially made by anyone. A good repair tech could do this easily. Take off the spatuala portion off the closed G# key.
Remount this key without the spatula so that it permanently closes off the now 'extra' G# tone hole. On the open G# key on the main stack, remove the lugs that are used to activate the split E, cut and solder on the spatula that you removed from the closed G# key.
Clean, buff, plate, pad two keys, adjust.done. Haynes flutes can still be ordered with an open G#, as can Trevor James. I have played on both systems, and though the open G# seems to make logical sense, I didn't see any real advantage to it. As to the three-leger line E - I have never found it to be a problem on any flute except my Armstrong Heritage when played with the original Armstrong headjoint.
For the past year or so, I have been playing on a David Wimberly headjoint, which has cured that problem. I think if there were a serious advantage to it, more flutes would be produced with an open G#, and nearly all professional flautists would be playing on them.
I previously said, 'I think if there were a serious advantage to it, more flutes would be produced with an open G#, and nearly all professional flautists would be playing on them.' ANd I suddenly realzed what a silly statement that is.
If it were the case that professional flautists would use what is best, they'd all be playing on flutes with offset G keys, and split E mechanisms. An offset G has a double advantage of being moe ergonomically sound than an inline, and less prone to problems when combined with a split E; but AMerican flautists, at least seem to be intensely enamoured of the inline G. Why do I suspect the inline G was a fad that started because some famous player had an anomoly in his left hand, and had a flute custom made?