The "split-E"

Hands up who's used a split-E model and who hasn't?

Does it make any difference in the middle-E above the C natural in the treble clef?

I've read it makes a difference in the higher octave. My problem is I keep splitting the E uncomfortably in the treble clef. Numptiness lol.

Would a B foot joint make any difference to splitting the E? I figure it's all down to tube ratio and length etc.

Thanks.

Thanks - that's really useful.

Thing is ... I have less problems with the 3rd octave E than I do with this second octave E!

I guess a split E mechanism wouldn't really help me in that respect. The E3 is easier than many other 3rd octave notes, like the C3 sharp note.

I'm sure I've started playing the flute with bad habits. The teacher I had did nothing to change any of those bad habits so I gave up on him. I tried another two - one was fully booked out, and the other hasn't bothered replying to my phone messages (she's always out). I am trying!!

There is an alternate fingering for the F# that I use sometimes, espcially when ppp,

Instead of the ring finger of the right hand, use the middle finger instead oxo instead of oox.

Thanks for the tips everyone.


Is there some consensus, that the third octave E note is harder, and so needs to have a split E mechanism?

I find it easier, whereas the C sharp is a nightmare for me - feels like I'm blowing through a hollow pipe. I can get it with the embouchure adjustments which you are describing, but I can't get it consistently, and often in playing, it is a real stumbling block for me.

do tend to alter the shape of my embouchure, the higher up the octave I go, and relax it more, the lower I go. Maybe for my sixth week learning, I'm just being too ambitious and I need to concentrate on the quality of notes in one octave rather than trying to learn all 3 octaves before term starts! Some days I can blow effortlessly with relaxed lips - it's usually in a piece, like Quantz's Allemandes where I come apart. I think I'm not changing embouchure fast enough to keep up with the piece's fingering.

It's still perplexing to me as to why a split E mechanism is so highly rated! It is far easier to blow than top G for me.


Are you relaxing your lips, resting them gently against your teeth, and pressing them slightly more together to get a smaller aperture for higher notes, or pulling them tight and thin against your teeth?

Picture a row of drawing pins between your lower lip and your teeth!




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Re: The split-E 17:14 on Wednesday, September 15, 2010 0 votes


There is an alternate fingering for the F# that I use sometimes, espcially when ppp,

Instead of the ring finger of the right hand, use the middle finger instead oxo instead of oox.

I've never tried a split-E, but I've noticed significant variation in the few flutes I've tried. Third octave E on my student Yamaha is a nightmare. Playing it on a rather expensive Powell was a dream.

Play second octave G loud, rich and clear, then take your thumb off and blow the air faster, while pressing your lips slightly together to achieve a smaller aperture, and you have third octave G. If you are having trouble with third octave G, which is a relatively easy note, and you are not a total beginner, then you definitely need a (good)teacher IMO. Some stuff about the way you are playing is surely fundamentally wrong.

.... and it worked!!!!

Lol. I'm not such a numptie after all!

Thanks for that

when i use the split e it always sounds flat

Two different styles of Split E:

Haynes has an "underslung" Split E which has a rod (about 2") from below the mechanism:
http://www.websailor.org/gallery/d/131184-2/haynes_split_e_from_bottom_p7020660.jpg

It is invisible from the top (a cleaner look) but was prone to binding problems e.g. high F to F# Trill:
http://www.websailor.org/gallery/d/131187-2/haynes_split_e_from_top_p7020662.jpg

Brannen attaches a rod to "wrap around key". It is not as clean looking but is supposed to work better:
http://www.websailor.org/gallery/d/133233-1/brannen_flute_0083.jpg