Transitioning to Open Holes

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flute balance, flute pedagogy, flute students, flute technique, step-up flutes

There comes a time for more ambitious young flute players when they need more flute than their beginner instrument can provide. They need a better headjoint to continue to develop their tone, a lighter mechanism for more technical facility and open holes both for sound and to be able to play more advanced literature. What frequently happens when a student gets a step up instrument however, is they play their new flute with plugs in the holes and never fully make the transition to open holes.

First off, let me say there really isn’t a right or wrong way to introduce playing with the holes open. It really depends on the student. If you have a kid who has good basic hand positions where their fingers are gently curved and centered over the keys, the transition will be relatively quick and painless. You can recommend they go ahead and try playing without the plugs right away and see how they do. Some kids do this quickly and pretty painlessly. They experience a few days of having a little trouble covering everything, but also have a developed enough sense of observing themselves to figure what they need to cover every hole accurately.

It can be more complicated if the student is bracing the flute against the rods with the thumb in front on the right hand or their left wrist is in front of the flute and left fingers straight and on the edges of the keys. What’s great about getting a new flute with open holes is that it is an opportunity for students to develop better hand positions, provided they are properly supervised and encouraged. With a kid like this, I think it is better to gradually wean them off the plugs one at a time. Give them a week per plug to adjust. And slowly you will see that their hand positions improve as they learn to cover each new hole.

What order do I recommend for removing the plugs? F key, A key, E key and then either of the fourth finger keys, D key and G key. The last two are by far the trickiest. It’s actually not such a big deal if the student never takes either of the last two out. A lot depends on the size and shape of the fingers and palm of the hand. Another factor is whether the flute has an inline G or offset G. It is generally easier to learn to cover the G key hole with an offset G.

Finally, encourage your students to use the pads of their fingers to cover the holes rather than the tips. There is much more flesh to cover the hole on the pads of the fingers. If students are trying to use the tips of their fingers, it is going to cause a lot of hand position and balance issues. Make sure the headjoint is aligned between the keys and the rods. Check that the right hand is behind the flute with the thumb under and somewhat behind the flute. The left wrist should be under the flute, not in front and the thumb should be open to the rest of the hand and relaxed. It will likely mean that the thumb engages the thumb key closer to the first knuckle than the tip (that is why the Bb key arm is recessed on most flutes as it travels above the B key).

If you find these entries useful, please subscribe, share with your colleagues and come back regularly for more flute tips. Feel free to comment. If you have a topic you would like to see explored more fully, you can contact me via IM/Messenger on Facebook or email me at dr_cate@sbcglobal.net. For information about clinics and workshops click here.

A Brief Guide to Step-up Flutes

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step-up flutes

By the time your flute students have been playing two or three years, they are ready for a flute that has a more sensitive and faster mechanism and allows them to explore a wider range of dynamics, tone color and vibrato. There are many fine brands on the market today to choose from, as well as a dizzying array of price points, features and options. Here is brief explanation of the main features so you can advise your students if they are shopping for a step-up flute.

Silver plated headjoint and body – there have been step up flutes like this around for some time, but there is more customer interest in these models and there are more brands making them in the last couple years because of the jump in price of the model options below. Some of these models offer a silver lip plate and/or riser (the blowing chimney) as either standard or as an add-on. Prices range from $900-$1200

Silver headjoint and plated body – in many cases, this is the most economical step-up choice available for students and their families. They range from around $1500-$1900. There is a significant improvement in tone quality and sensitivity of the mechanism over beginner flutes. I recommend these for avid band students who want more response and enjoyment out of playing. Several manufacturers make flutes in the $3000-$5000 range with silver headjoint and plated body that are handmade rather than machine made. These flutes should be considered for college-bound players who think they would like to major in music.

Solid silver headjoint and body – all silver does make a difference in sound. These flutes are for serious flute players who think they might want to continue into college. A good step-up silver flute is in the $2400-$3000 range.

Open holes – standard on most step-up flutes. They come with plugs so students can gradually get used to playing with open holes. I recommend taking plugs out by starting with the F key, followed by the A key, E key and then either the G or D keys. The last two can take some time. Having good balance and hand positions is essential for making the transition to open holes.

Y-arms or pointed arms – more and more step-up flutes that come with pointed arms. Pointed arms look more like professional flutes. The pointed arms do lend a lightness to the mechanism, but it isn’t a significant difference. There are still step up flutes with Y arms available. If looks are important, go with the pointed arms. 

In-line vs. off-set G – This depends on the size of your hands, the length/width of your palm and length of your fingers. In general, a smaller hand does better with the off-set G. For me personally, switching to off-set G in my 20s was the best thing I did for myself. My left wrist was straighter under the flute and my thumb was more relaxed. 

B-foot – pretty much standard on step-up flutes and higher. Also comes with a Gizmo, also known as the high C facilitator. A very sweet plus for advanced ensemble music. To use it, you finger the high C or C# and open right hand to reach the gizmo at the same time. It improves the response significantly. If you want a C foot, it is a special order these days.

Split E mechanism – As you can see from the diagram, it adds mechanical complication. It does stabilize the high E by closing the G key alone. If you know how to maintain fast air speed, it isn’t really necessary, but I don’t discourage students from getting it if they want it. 

C# trill – this feature is available on some step-up flutes (especially all silver flutes) by special request. Is this necessary? I would really recommend this for any serious student. It is not so important for a more casual player who is in band just for the fun of playing and being with their friends. I love the C# trill for all the tricks and hacks it can do like solving the B-C# trill, high G-A trill, high Gb-Ab trill, playing a high Ab super soft and giving another fingering for the C# whose tone color has a bit more hair on it than the standard fingering. 

If you find these entries helpful, subscribe, share with your colleagues and come back next week for another flute tip. Please comment and feel free to ask questions. Maybe the answer to your question will be the next flute tip. Find me on Facebook or email me at dr_cate@sbcglobal.net. For information about clinics and workshops click here.