Offset fingering
For the larger instruments, offset placement is offered to make reaching the holes easier. Right-handers tend to want to position their right hand at the distant (foot end) of the flute, and the converse for lefties.
The flute on the right is right hand offset: the right hand is placed toward the foot of the flute while the left hand is toward the nest end.
The flute on the left is left hand offset: the left hand is placed toward the foot and the right hand is at the nest end.
Centre hole placement is simply the holes in a straight line, the way it’s been done for millennia.
There is no additional charge for offset fingering.
Offset fingering is available for all keys and models except for:
the highest register: ( high E, F, G )
the Tideline model in the mid-range sizes—because the design is incompatible,
and the Arrowhead in all registers—because the design is incompatible.
Fingering for the 5 hole Sakura pentatonic scale
It’s quite straightforward except for the top two tones which are cross-fingered. This wee video demonstrates the scale itself with the fingering. (Other tones are available, please experiment).
Fingering for the 5 hole Dream Flute
This is a simple as it can be: Start with all holes covered - this is the lowest (root) note. Now release one hole at a time working upwards until all holes are uncovered. You’ve just played the minor pentatonic scale. Beginners can now focus on accuracy and having fun. Also find the hidden notes by experimenting with cross-fingerings.
But basically, just get into it and have a blast.
Fingering for the Natural Minor / Aeolian mode Flute
The familiar minor pentatonic scale is a stripped-down natural minor scale. This tuning restores those missing notes (major 2nd and flattened 6th degrees) to create a full, 7 tone diatonic scale.
Fingering for the Hijaz Kar Flute
Both the 2nd and 6th are flattened, which sets the exotic, middle-eastern tone.
This scale, or something close to it, is played in middle-eastern cultures - and so are many other scales that are unplayable by us, because there are more subdivisions of the octave than our ears are used to - (microtonality, to us westerns). The reason we find this scale enchanting is because by happy accident it tends to fit into our western 12 -tone schema. So it would be proper not the call it ‘the middle-eastern scale’ as some carelessly do, but ‘the middle-eastern scale that sounds best to western ears.’ And boy, does it sound good!
