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Alternate Fingering Chart for Five- or Six-Key Charanga Flute

Third Octave: D6 to C7

This fingering chart includes both basic fingerings and alternatives that are more appropriate in some passages. Some alternate fingerings are designed for fast passages, while others modify the tone, color, or pitch at normal and extreme dynamic levels. These fingerings are intended for the French five-key charanga flute and may not apply to similar French or Irish models.

The fingering scheme explains the text and keys used to depict fingerings and briefly describes the charanga flute in general.

 

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Note

Written

Fingering

Description 

Src.
D6
D6
–23|–––Eb Basic.  
123|–23 Sharp.  
1–3|–––Eb Flat. PN
D6
E6
D#6/Eb6
–23|–23Eb Basic.  
123|–23Eb Slightly flat.  
–2–|–––Eb Sharp. PN
–2–|––FEb Sharp. PN
–23G#|–––Eb Flat. TD
–23G#|––– Slightly sharp. TD
E6
F6
E6/Fb6
12–|–23Eb Basic.  
123G#|12–Eb Slightly flat. TD
E6
F6
E#6/F6
12–|1––Eb Basic.  
12–|–2–Eb Flat. PN
12–|12FEb Slightly flat.  
F6
G6
F#6/Gb6
1––|1––Eb Basic.  
12–|1–– Flat.  
1–3|1–– Sharp. PN
Bb 12–|1–– Slightly flat, but almost in tune.  
12–|123 Flat. PN
1–3|12F Slightly sharp, but almost in tune.  
G6
G6
1–3|––– Basic.  
G6
A6
G#6/Ab6
––3|––3Eb Basic.  
1––|–23Eb Slightly flat.  
Bb ––3|–23Eb In tune. PN
–––|––3 Slightly flat.  
A6
A6
–23|12– Basic.  
–23|12F Sharp. PN
A6
B6
A#6/Bb6
–2–|1–F Basic.  
–2–G#|1–– Slightly flat. RW
–23|1–F Flat.  
–2–|1–– Flat.  
12–|1–3Eb Sharp. Good for ff. PN
B6
C7
B6/Cb7
Bb 12–|––FEb Basic.  
Bb 12–|––3Eb In tune. RW
Bb 12–|–3Eb Slightly flatter. RW
Bb 12–|––F3Eb In tune. RW
Bb 12–|–F3Eb Slightly flatter. RW
Bb 12–|–––Eb Almost in tune.  
1––|––– Sharp. PN
Bb 12–|1––Eb Flat. PN
B6
C7
B#6/C7
1–3|–2– Basic.  
Bb 1–3|–2– In tune.  
1–3|2– Slightly flatter. RW
1–3|–2–Eb Sharp. PN
1––|–23 Slightly flat.  
1––|––3 Less flat than 1––|–23, but lesser response. PN
Continue to Fourth Octave >>

 

Special thanks to Pablo Nez (PN) for submitting this five-key charanga flute fingering chart. The submitted chart is also available in .pdf format and includes contributions from Joaquín Oliveros (JO), Ted David (TD), Eddy Zervigon (EZ), and Richard Wilson (RW).

 

 

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by Timothy Reichard
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