Experiment: Success!

The scraper that lives on Amazon is back, and there's nothing that I can do about that. I just hope that they aren't using what they scraped for nefarious reasons.

Anyway, I ran an experiment earlier today while playing during worship service. Instead of playing Aurelia, I switched over to the AF-1 Grenser one-key traverso. Three of the hymns we played were ``simple'' keys (C, & F), with the only problematic one being A♭. Since its a one-key flute, the single toughest note on the simple flute system, E♭/D♯, is easily handled with the single key. As for the other chromatic notes (A♭, B♭, and D♭) are ``easily'' handled with cross-fingering patterns similar to the ones I put up for the AF-3 Stanesby Jr.

Note that the word is ``similar'', not the same. Have a look at the PDF of the fingering chart. Due to the different tuning (A440 vs A415) and possibly different geometry (AF-1 is based on the Grenser, hence the name, while AF-3 is based on the Stanesby Jr., hence that name), the cross-fingering patterns for the AF-1 Grenser is much simpler and systematic as compared to the AF-3 Stanesby Jr. I actually derived quite a bit of inspiration from the one-key flute fingering patterns while building my own 12-tone fingering chart for the 笛子.

Now, the reason to raise all that allegedly diversionary tangents is just to point out that I was really in my element when doing all the funny chromatic stuff on my AF-1 Grenser, even for the A♭-key hymn.

The experiment was a success. No one complained about intonation and other issues, and I found that even without the much louder set up that was Aurelia (and other modern concert flutes), I could still play the upper envelope without being drowned out by the four violins, one piano, and one electic organ. I suspect that was due to the other instruments staying out of the upper octave that I was in than how the AF-1 Grenser was ``loud enough''. In fact, the music coordinator remarked that when I was doing my runs for warm-up before the quick group rehearsal sounded much smoother than when I was with Aurelia.

I think that smoothness just came about because the reaction time of a simple system flute was always faster than that of any keyed ones.

I was really afraid of intonation, but thanks to what I have realised to be non-broken ears, that was within control. And therein lies on of the reasons why the one-key flute isn't as well used these days as compared to the concert flute. The music ministry group that is playing at the worship service is sufficiently small that I could still control the intonation carefully, and I can see how it can get progressively harder to do so as the number of players increase.

All in all, this just means that I have other options to bring to the table whenever I'm rostered to play.

Till the next update.