# help a composer out: sliding up via alternative fingerings "refingerings"



## chee_zee

while I'm writing this piece for shinobue, I think this appplies to woodwinds in general so flautist, clarinetists etc your help is welcome.

Basically, these fingerings, are the same note. The halfwholed one let's say is Bb, out of the instruments 7 notes (it's a limited diatonic instrument so embouchure and halfwholing is the only way to get the other chromatic notes). If I were to 'whole hole' the thing, it'd be A. Now then, this other fingering chart, is also Bb. From this fingering, if I were to slowly slide off one finger from each hand, it would give me B natural.

So you see, in this manner, I was thinking it'd allow me to slide up in a continuous glissando ala rhapsody in blue, by going from A, sliding off to half whole to Bb fingering one, having the smallest amount of 'break' between Bb fingering 1 and 2, and sliding fingering two to B natural. Any ideas if this would work?


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## Head_case

Yes, that would work for me.

The 'blip' or 'break' that you describe would be specific to the instrument fingering. It is no different than the decorations (appoggiatura) which flutists experience during the octave breaks (classically between notes b/c in the lower octave to the middle D etc). For a diatonic instrument with 6 finger holes and a thumb hole, the ergonomics of the flute is important; the majority of shinobue players would probably finger the bottom hole (7th in your diagram) just to stabilise the flute at the expense of slightly flattening the sound. This is usually acceptable.


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