Just wondering if it is difficult to transition from a plateau model flute to a open-hole flute?

That varies a lot from person to person. I personally didn't have any real trouble with it, but many people take a few days or even a couple of weeks to fully adjust. You can make things simpler if you start with all the plugs in, and remove them one at a time (replacing them if you find that particular hole makes your stretch in an uncomfortable way) until you've got them all out. With a little bit of practice, you'll get used to a French model flute pretty fast.

i dont think it is, i got an inline, and when i first got my open hole it i could not do it, i probably took the worst approach, but I took all the plugs out never used them, and insisted on played for a week horribly with out the plugs in(even in band), and in a week i was fine, My friend plays an open hole, and shes been using the plugs, and has had them since like like april, and only took out 2, so, i guess what i did, by just not even using them was o.k. but yup thats what i did.

It certainly depends on the person; it probably depends on many factors such as age (not a favorable factor in my case), how long you have been playing with plateu (4 years in may case), lenght of fingers and other factors I do not know.

My recent experience was that it is easy to adapt to playing with some holes unplugged and bordering the impossible with others.

I have no problems unplugging the "A" hole (middle finger L.H); for the "G" hole (ring finger L.H) it proved to be difficult enough as to make me plug it back after 3 weeks trying to adapt and it was practically impossible for the "D" hole (ring finger R.H).

I have not tried the other holes as I see no advantage in doing so.

There have been lot of discussions (and fights)recently, concerning the possible advantages of one type of flute or the other. So if you are planning to buy a flute with open holes, take a deep, really deep breath and visit those threads searching this site for open holes and french flutes.

If you already have the flute (or you could try one for a week or so), I suggest you try it yourself. Most of the opinions here were that it makes no noticeable difference in the quality of the sound.

I'm changing to a french model now... I played 1 for my 1st time and i really didn't have a problem and actually it came easy to me... but some people are different so it depends on what you can do.

I guess it depends how good your finger position is. I have a plateau flute but I've tried french style and i found that i only needed the f sharp key plugged up if i have to play low c or c sharp. Try without the plugs and just add what you need. I have fairly big hands though.

There are two schools of thought on the issue:

(1): According to the late Elaine Shaeffer: "you sink or you swim" --- meaning, of course, you use no plugs --- in-line/offset G. I did this in my teens, and it took about 4 days before I got it -- and haven't looked back since.

(2): OR: "plug up those (particular) holes that are giving you a problem, until you can "adjust". But then, remove them.

I would guess that the biggest problem is the with G key, particularly in-line. So, plug it if you have to --- but get rid of it when you (finally) can. IMO, only, of course.

Otherwise, there appears to be no point in opting for a French model flute (?). In-line OR off-set G.

I like the fact that I can actually "feel" the airstream as it flows through the flute (open hole), on my finger pads.

One of the arguments for the open flute placed by manufacturers and artists, alike, is that the open hole flutes "alow more air to escape, giving it more projection".

To this day, I don't understand what that means. But what I can tell you is this:

Somehow or another, with an open hole flute, it feels like I'm "more in control": I can tailor the tone, intonation, sonority, elision, color, muting, etc. IMO. Agree or disagree --- it's just what I've found.

Jim

I like the fact that I can actually "feel" the airstream as it flows through the flute (open hole), on my finger pads.

When I first started trying "professional" flutes, my wife favored the open hole flute for this reason. I couldn't feel the air flow, & I thought she was imagining it.

<Added>

I purchased the open hole flute even though I preferred closed hole. However, she asks me to put the plugs in everytime she plays it since she's not proficient in covering the holes.

Thank you, dio, for your feed-back.

Yes, it's true. Most flutists playing an open hole flute can, indeed, "feel" the actual airstream going through the instrument.

Some players don't feel it -- but most do. I, particularly, do.

As an aside, I've been "testing" flutes for friends for many years. Every time I play a Plateau flute -- I can immediately tell the difference, and can't wait to get back to my open hole flute, wherein I can accomplish far more than on a Plateau flute.

I'm not trying to "sell" or "sell anyone" on French model flutes. It's just been my experience, over 40 years.

Finally, it has never escaped my attention that most "pro" and "serious amateurs" always opt for the French model.

It has been postured, on previous posts, that this is "just to 'look' good". Excuse me? I don't think that Galway, Tracy Harris, Rhonda Larson, Doriot Dwyer --- and on and on are trying to "look good" ---- they are good.

So, why on earth did they spend $10k to $20k or more for a flute, just to "look good" ??? Contradiction, please.

These are artists who could have picked any flute: Plateau, French, silver, gold or otherwise. So why do they all pick the French model?

I'm only going on my personal experiences --- and believe me, I've tried many Plateau flutes --- and I trust the input I've gotten from various artists of significance.

Finally, the Plateau flute is simply not capable of giving any flutist the "same" (as mentioned in my previous post) sound(s) that the French model does.

I have no axe to grind, here. It's just that, for all the reasons I've given, the French model flute is, indeed, superior. For those whom are more "comfortable" with a Plateau flute --- then, by all means, "go for it".

It has been postured that ("it's the artist behind the flute, not the flute"). I find that ridiculous. Is one going to say that Jeanne Baxtresser would sound "just as good" on a $300 "student" flute, as she does with her "pro" flute. Not in this lifetime, nor my next, would I ever agree with that.

But --- to each, his or her own.

Again, thanks for your feed-back.