CROOK
The top part of the saxophone usually curved of which the mouthpiece fits on. It is specially designed to allow perfect airflow throughout the body of the saxophone
C# Trill
A key added to the flute to be able to 'trill' the C# note.
'E' Mechanism
The note E3 has always been difficult to play on a flute in tune (it has a tendency to be sharp) as well as crack easily when first attacked. The split E mechanism is an optional extra and can be requested on both in-line and off-set G flutes, however the E mechanism is most commonly found on the offset G flute. When a player plays E3 on a flute without an E mechanism, both G keys remain open. However if the player has an E mechanism, a bar located adjacent to the F# key pushes down the lower G key. The upper G key however remains open.
In-line/ Offset G mechanism
The in-line model
- The G key tone holes are set in the same row as the B, A, F, E, and D keys. The G keys are part of the left-hand section. Simply, all the keys on the main body are in line with each other. The French flute player favors the in-line model.
The offset model
- A type of centre joint construction in which the G keys have tone holes set forward of the row of other tone holes. There is a separate set of posts and rod for the G keys and they are not part of the left hand section. The offset model predominates in the UK flute market. There is no acoustical difference between the two styles. Many players prefer the offset G keys because it feels more natural to them. Those who consider it conducive to good hand position prefer the in-line configuration. It is purely a matter of personal choice.
Over cutting and undercutting
Over-cutting is the term given to the bevel on top of the embouchure hole, whilst undercutting is the action of changing the angles at the bottom of the chimney or riser. Both actions are achieved by hand filing and then finished by polishing the angled areas. Over-cutting and undercutting of the embouchure hole and chimney does indeed make a difference to the sound and tonal flexibility, however as this is again a subjective topic, the extent and severity of the cutting varies from flute maker to flute maker, as does the preference from player to player.
Open Hole/ Closed hole
There are two common forms of key styles used today, ‘closed hole’ keys, and the ‘open hole’ style. The ‘open hole’ flutes have five keys which have holes in them - the A key, one of the G keys, the F, E and D keys. The purpose of the hole is to provide increased air circulation when the key is open. To close the key, the finger must cover the hole completely. In addition to the acoustical differences for this key style, there are certain artistic and aesthetic preferences for them, as well as the ability to encompass may of the modern day flute techniques that may require the player to half cover the keyhole. The most common key style in the UK is the closed holed version which as the name implies, has keys without holes
'B' Footjoint
The standard concert flute comes resplendent with a natural three octave range, from C1 to C4, however the more advanced and professional player can occasionally be found ‘up in the gods’ playing C# 4 through to F#4. On the odd occasion, the flute part may contain a low ‘B’, which is too low for a normal concert flute to play, unless it has an extra key. This extra key is situated on the footjoint below the ‘C’ tone hole and is called the low ‘B’. This particular footjoint is therefore called a ‘B footjoint’ as opposed to the normal ‘C footjoint’ found as standard on all flutes.
Polycylindrical Bore
Means that the bore is tapered through both the upper and lower joints to produce subtle, desirable changes in the sounding of particular notes. In both design and manufacture, a polycylindrical bore requires the instrument-maker’s utmost skills.
Green Line
developed a few years ago. Using the dust of the Grenadilla wood that is not used when making the 100% Grenadilla instruments. The wood powder (95%) is mixed with a special formula (5%) of epoxy glue and carbon fiber in an oven. Sixty tons of pressure are applied to the mixture so that it has the same density as regular Mpingo Grenadilla wood. The result is a lightly more flexible material which can handle humidity changes slightly better as it has the flex to be able to cope with the harsh temperature changes.