August 2, 2020 (with permission from Mr. Wilson Melo to publish his comment. The portion in Italics was returned to him as reply. The rest is posted only here.)
Wilson Melo (from Brazil) wrote: “I [have been playing] the flute since I was 16 years old. About 5 years ago I’ve decided to change to an open g# after reading an article by Robert Bigio ( http://www.robertbigio.com/cleverandrich.htm). Bigio helped me finding a flute and I bought a Rudal Carte open g# from a friend of [his]. I wish I had started playing such a system when I was young. It is much better than the standard modified Boehm system.“
Dear Wilson:
Thank you for your comment. Yes, I wish I had found out about Open G# mechanism when I was still studying in music school or earlier! The only irony is that, had I started earlier on on the Open G#, perhaps my eyes may not have been opened to the difference the transition made. Only thing it may have brought me was the hardship of finding better instruments to upgrade to (only custom-made instruments), not to mention the stigma of playing backwards on G#. I probably will have been more embarrassed from being the odd-guy, rather than feeling the conviction and confidence I feel today that this is how the flute should have been promoted all along.
It seems that appreciation for the enhanced quality the Open G# mechanism brings can only be realized by years of learning it the wrong way with Closed G#. I only wish there were more teachers out there that encouraged their students to explore Open G# mechanism. I do see the uphill battle attempting this would be, when most makers don’t even offer Open G# as an option (I’m sure they won’t refuse a custom request, but you must know to ask, and that then can only mean you must already have invested in it… which is highly unlikely to happen at the beginner, intermediate or even at advanced levels.
Once you are professional making a living with the instrument – it would be almost unthinkable to make the switch – to risk making mistakes on simple scale or arpeggio passage let alone difficult passages during live concerts, because of the switch. You can’t just take months off to master the new fingerings. It can end your career.
There is one person in Japan, Mr. Masayoshi Enokida who is the retired principal flutist of Osaka Philharmonic Orchestra who dared, made the switch in two weeks and survived, but that’s another story I will post, sooner or later.
I’d love to hear of any experiences from any player moving in the opposite direction – from Open G# to Closed G#, to see what their experiences were like. I do admit there are hundreds of valid reasons to move to closed G# – availability of high-quality instruments, both historical and modern instruments made today. I’d like to know if the switch was worth or not? Were they old enough at the time to appreciate the differences in tonal qualities of both? Etc.
Also, another mystery I must solve sooner or later regarding the Open G# for further conviction that this mechanism should not be lost in history but is worth reviving, is – how much of the alluring sound I am hearing can I attribute to the mechanism, rather than the simple quality of the instrument? The Haynes Open G# that I have is a total gem. When I met Mr. Sakurai in Japan, he told me that he has no doubt it was made by the finest Haynes craftsman that also made Jean-Pierre Rampal’s gold Haynes flute – it’s of the same era and there are some evidences. It may be that the instrument is so special in and by itself, I may be mistaking its own magical quality with the fact it only happened to be Open G#. I’d like to believe that, at least part of the inspiration is because of it’s Open G# mechanism, because everything about the tonal quality of each key makes so much more sense.
But how can I prove it to myself and to others? So, in order to dispel any doubt, I must make another Open G# flute playable and have other instruments as basis for comparison. In fact, I’d like to also convert an advanced level student model instrument by the likes of Gemeinhardt or Armstrong to see what a converted instrument might sound like. Will having a permanently closed back G# key make a difference in the tonal experience? What would happen if I took the entire back G# key and cover it up with a soldered plate? Will that make any difference? So many things I’d love to do to pursue the answers to this, our mystery.
I’ve recently acquired Marigaux (SML) Open G#, a rare one for a French flute maker. I’m trying to repad this instrument as a first step to begin the comparison phase.
I will publish another post soon to show the physical difference between the two instruments – how the Marigaux retains the French elegance while making sure it plays like an Open G# instrument. Stay tuned!
-Shoji
Open G-Sharp Flute Advocacy 
I have a degree in flute performance, which I earned playing on the closed g# flute. I later served in several major musical assembles professionally. At 18, I acquired and put back in playing condition an open g# wood flute by Wm R. Meinell of New York, which I subsequently used in a few concerts (lipping up to compensate for the 435 low pitch – not an ideal solution). During the pandemic, I undertook to really “learn” the open g# instrument alongside the closed g# version, with surprising success. I can now play most of the 19th century flute orchestral literature on an open g# instrument.
The problem in doing this successfully is not the differences between instruments. Rather, it is the similarities. While playing comfortably along, one hits a passage that was practiced to death on the other version, and the mind, now on autopilot, reverts to the memorized fingering pattern, and it all suddenly goes south.
My method was to treat the instruments separately. To learn open g# (as an accomplished closed g# player), go back to your first lesson books (and pieces) and start from scratch. Work your way up to the level you want – possibly to equal accomplishment. You may find you cannot play both instruments on the same day at first. After some time, you may play one in the morning, and the other in the afternoon. Eventually, you MAY be able to switch back and forth without confusion. In any case, it could prove to be an uphill battle over some time.
It is important to have an instrument of good quality – which could be a fine wooden instrument that has been fully restored – but be careful about pitch if you plan to play with others. I especially love my Wm S. Haynes wood flute from 1912 (which will play at a=440 hz).
I must note that each type of flute (open vs. closed g#) has its advantages but also idiosyncrasies and anomalies. Neither is a “perfect” instrument. Boehm did a great job. But nothing is perfect – only, perhaps, the best among several good choices. Hence, choosing between open and closed g# is mostly personal preference. That said, if I had only known as a kid, I should have chosen open g#.
As for doing a conversion, I knew an older gentleman in the 1960s who had Haynes convert a closed g# flute to open g# by closing off the g# hole in the back through permanently affixing the original key cover and attaching the separated key tab to the g# half of the g key. It worked perfectly.
A final observation: There is nothing wrong with a restored wood flute as long as the pitch is correct. Do NOT try to raise an instrument from 435 to 440; it does NOT work for acoustical reasons. The result will be a permanently out-of-tune (and ruined) instrument. Wood flutes may require a slight change in embouchure, but once the correct embouchure is found to get the best tone out the particular flute, it will likely be wonderful. Also, note that there are modern flutists who regularly use wood flutes. If you watch a Berlin Philharmonic concert, you may see this in action.
Good luck!
Henry Hoffman
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Dear Henry,
Thank you for sharing your experience. It sounds like you’ve been able to tame both kinds! I congratulate you for it. And I’m also noting that you started with closed G#, then moved on to Open G# and wished you had started on Open G# to begin with. To me, I think you did experience the charm, or the fact the sonority of open G# makes “sense”. That is what I was struck with, and it is something you can only experience by having played the Closed G# first for as long as you and I have. Had we started on Open G#, I’m not sure if there would have been that much appreciation to the sonority as that would have been the only world you would have know – with no basis for comparison. Maybe the only thing following you would be having to give excuses to the fact you’re playing on an odd mechanism! One ought to stand tall and be proud!
I want to continue to look into whether it is, like you say – just a preference – or is there some superiority which could have been the reason Theobald Boehm himself adopted Open G# in his design despite knowing that all mechanized flutes up to that point had mechanism to open the G# key be pressing down on the left pinkey. To me, I can hear the correctness of the scale and the clearer harmonies while playing etudes unaccompanied, but it maybe my age or my wishful thinking. It’s all feeling and not enough science. I am hoping to take a closer look at all of this.
Ultimately I would like to see the Open G# instrument re-introduced as a viable option. It should be less expensive to make with less intricate key work and one less key to pad! I would like to see more makers offer Open G# option. However, to get there, there must be more demand. I would like to see Open G# mechanism accepted by teachers if a student should come along with one. I’d like to see more students demand for one. ..And get one easily. Finally, I would like to see more performers able to say “I play on open G# flute, and I’m proud of it.”
I think it’s time this wonderful mechanism is revisited by flutists.
-Shoji
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Hi Shoji,
I hope you’re aware by now that Trevor James Flutes now makes a student model open G# flute: https://tjflutes.com/products/cflutes/firstflute/tj10xwithopengsharp
Just like Henry Hoffman, I used the pandemic shutdown period a year ago to convert to open G# when an excellent Haynes commercial model w/open G# came up for sale. No regrets so far, but I am still stuck with playing a closed G# piccolo which I manage okay.
Regards,
Richard Dalton
MD, USA
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