THE NEW FLUTE DESIGN
This new fingering system is easy to memorize and enables the player to perform even difficult passages with comfort and ease. Chromatic scales sound wonderfully smooth. All scales are easy to play, regardless of how many sharps or flats are involved. The Boehm method is built around the C major scale with the sharps and flats of other scales inserted where they can fit. Because of this, scales with more sharps and flats become difficult to play (especially Db which is very awkward). The new flute design overcomes this problem because it is based on the chromatic scale which is the only scale to include all twelve notes of the octave. C major (and every other scale) is a subcategory of the chromatic scale.
MAKES SENSE
The Schmidt chromatic fingering makes perfect sense and is a pleasure to use. Since the tone holes are generally located directly underneath the fingers being applied, the players understand that they are making the flute tube longer and lowering the pitch by applying more fingers, making it shorter and raising the pitch by lifting fingers, or venting it for high notes by lifting some fingers and closing others. This direct link of fingers over tone holes enables players to visualize what they are doing to the flute tube. It encourages them to use more creativity and intelligence in their playing. For example: it is easy to transpose down a third by simply counting down 4 more fingers on their keys.
ERGONOMICS
This flute has been designed with ergonomics and finger comfort foremost in mind. All of the touchpieces have been ideally located. The angle and finger positions of both hands have been laid out to allow for relaxed playing. The player's hands are also located closer to the face and so strain on the arms is reduced. These improvements are not subtle - they are dramatic. It's a healthy design and it feels friendly in your hands. On the other hand - the Boehm system has a reputation for giving players tendonitis and other painful problems. Now there is a solution and it is no longer necessary for professional flutists to suffer from the crippling layout of the Boehm keysystem.
THE LEFT HAND
bottom view below
ADVANTAGES
The limitations of the Boehm system have made it necessary to invent the Bb lever, split E 3rd octave, E facilitator (restrictor), duplicate G#, C# trill key, 3rd octave F# button, low B gizmo and the Bb thumb key. All of these extra keys just make the Boehm system more awkward to play. The new system sweeps away all of this extra keywork and starts with a clean slate. With the new system, scales and tones are cleaner and quicker due to the fact that each hole is independent (except for the lowest notes) and is not loaded down by interlinkage mechanisms as are, for instance, Bb and F# in the Boehm method. Tones are also clearer because you have the choice of closing only those holes which produce the best sound. A full size C# hole, an extra French hole, and a special D speaker hole are thrown into the bargain. All of these factors make for a richer and clearer tone from the following notes: C# 2nd and 3rd octave (full size hole); C 2nd and 3rd octave (has French hole); D 2nd, Eb 2nd oct (smaller, less noisy speaker); F# 1st 2nd and 3rd oct (not shaded, ideal venting); D 3rd, Eb 3rd oct (ideal speaker vent), G 3rd, C, D, Eb and F 4th oct (better ventings than available with the Boehm system). And finally, E 3rd oct does not crack up to A.
Trills are a breeze to play as they simply involve the same decisive finger to be moved up and down as would normally be used to play the next note. A chromatic or other scale of successive trilled notes sounds very uniform, each note having the same volume and available speed. All the trills and tremolos of the Boehm system are available, plus many new additions.
NOTE - When refering to the fingers - the thumb is the 1st digit and the little finger is the 5th digit etc.
LEFT HAND
Shift down the entire hand one space - holding down both of the specially shaped left hand mainline B and Bb touchpieces with one finger. Now BOTH the 4th and 5th digits are available to operate the touchpieces of the G# & low C through B cluster. The 4th digit can be used to hold down the low C key while the 5th digit trills low B (the Boehm setup does not accomodate for this). Either the 4th or 5th digit can hold down G# or low C while the other finger performs low trills. For example - an easy trill can be produced between low C# and B or between low C# and B (both are unavailable with the Boehm system). A wide variety of combinations (trills and tremolos) are available.
RIGHT HAND
Shift down the hand similar as above. Now the 4th digit is on the D lever arm so it can press/hold it in either the D or the Eb position, etc. The 5th digit is then free to operate low C# by itself and so can trill it from either Eb or D. This makes for an easy trill between low Eb and C# or between low Eb and C (impossibile on the Boehm setup). An additional touchpiece is provided to enable an easy trill between mid Eb and D.
Combinations of intervals between the left & right hands can be discovered by experimentation. Familiarity with the whole process comes naturally over time and with practice.
RIGHT CRUTCH
A right hand crutch is incorporated to free the right thumb. It provides extra stability and comfort. With the crutch it is possible to hold the flute with all the fingers lifted from the touchpieces.
Bottom view
SLEEK COMFORT
A sculptured lip plate is designed to comfortably fit the player. Elimination of the bulky tone deadening head cork is replaced by a trim, leak proof plug. Sleek, low profile keys are precision formed from solid stainless steel or Silver. The keys are designed to be much stronger to resist bending which would upset the precise seal of the trouble free synthetic pads. Conventional keys and pads are thick and bulky. These new lower profile keys offer more control, a better feel, and the lightest, fastest action you've ever experienced. This flute does not have a traditional look because it places performance above all else. In order to improve the tone and playability beyond the Boehm method, it was necessary to dispense with the ornamental traditions of the past. Useless fancy frills are smoothed over and everything is streamlined to the maximum.
This is a racing flute with high speed, high performance capabilities.
Go to Jim Schmidt's racing experience
Posts and tone deadening ribs have been replaced by one piece bridges. The integrity of the main body has been improved by eliminating the solder joint at the head joint tenon. The duplicate G# is not necessary on this flute - thus dispensing with one deadening pad and tonehole. This efficient design effectively reduces unwanted weight and solder joints. This enables my flute to project with greater clarity, tone color, and volume on demand; there are no pins, body joints or collars. It is much closer to the ideal of an adjustable length of resonant tubing attached to a head joint.
Go to Jim Schmidt's "TONE TEST"
Spring pressures are even throughout the key work due to the elimination of interlinkage mechanisms (such as Bb and F# on Boehm flutes).
MORE RELIABLE PADS
These pads have been developed for over 30 years and are revolutionary in their design and performance. They are quiet, form an excellent seal and last much longer than conventional pads. Skin deterioration, moisture warpage and all those other headaches are no longer a problem.
EXCELLENT INTONATION
There are no flattened or shaded notes (which occurs with interlinkages). This allows a more even graduation of tone hole size and location. The elimination of interlinkages allows the player to choose the ideal fingerings for the upper register. These improved fingerings provide clarity of tone and precise intonation unmatched by any Boehm system flute.
MULTIPHONICS
The independently operated keys make it possible to choose many more combinations of closed or open tone holes. This feature opens up more potential for multiphonics, special effects and tone production.
Young musicians are naturally attracted to this new design. The chromatic layout makes it easy for a beginner to find correct notes just as a child counts on his fingers.
Advanced players find tremendous potential at their fingertips. Tone quality is improved for classical playing, accelerated passages are available for the jazz artist, and a whole new horizon opens up for extended techniques. GO TO PRICES & ORDERING
THE RIGHT HAND
