Instruments Introduction

There are many different types of keyed flutes. They can be built with three or up to
fourteen keys. Basically keys have three functions. They:

– avoid cross fingerings for F, G sharp and B flat
– realize trills in the right tone (for example the C, D-E or C sharp key)
– extend the range of the flute in the low register (as the C-, B- or G-foot)

Other keys are double keys (for example the short and long F-key)

Instruments

A.B. Fürstenau 1844, S.4 “… Die französischen Flöten erhalten die sehr leichte Ansprache der hohen Töne dadurch, dass sie sehr schwach von Holze sind, im obern Theile ein sehr enges, nach unten ein weit zulaufendes Geböhr haben, besitzen dagegen eine unvollkommene Tiefe, und sind in der Regel nur in den Tonarten D un G rein abgestimmt, abgesehen davon, dass ihr Ton sehr dünn ist.
Die englischen Flöten haben ein ähnliches, nur auf die Höhe berechnetes Geböhr, nur dass ihr Ton stärker ist, wodurch sie aber eben von dem Character des Instruments abweichen, und sind nur in den Tonarten F, B und Es rein gestimmt.
Was die deutschen Flöten betrifft so sind die früher so rühmlich bekannten Instrumente von Kirst in Potsdam, Grissling & Schlott in Berlin, Grenser in Dresden u.a.m. das Gegentheil von den französischen, indem sie durch die weite Bohrung eine sehr schöne Tiefe, jedoch eine Höhe haben, welche nie mit Sicherheit auszugehen ist. Die Wiener Flöten waren, als der Instrumentenmache Stephan Koch noch lebte, sehr gut, hatten jedoch (wie auch noch gegenwärtig alle Wiener Flöten) stets einen dünnen, spitzigen Ton, und haben in neuerer Zeit viel verloren.
Beides vereint, eine gute Tiefe und Höhe, findet man demnach auch bei den genannten deutschen Flöten nicht, auch ist bei ihnen, wie bei jenen ausländischen, nie sonderlich für die Mitteltöne gesorgt worden.
Von allen mir bekannten Geböhren darf ich das des Instrumentenmachers W.Liebel in Dresden als das beste bezeichnen, und mit Recht empfehlen, da es alles Gute in sich vereint. Es gibt alle Lagen der Töne mit Leichtigkeit an, hat eine zarte, schöne Höhe, angenehme, wohllautende Mitteltöne, kräftige, sonore Tiefe, eine herrliche Egalität (d.h. eine solche, die in der Beseitigung übel klingender Abstufungen besteht, und der Flöte nur förderlich sein kann) und möglichste Reinheit in allen Octaven und Tonarten…”

Keys

F. Devienne 1795 p. 1 Je me trouverai peut être obligé de fronder quelques usages, tels que les doubles coups de langue; tels que les sons durs que l’on tire avec force dans les bas et que l’on nomme (je ne sais pourquoi) sons de Haut bois, quant aux Flûtes dites à l’Anglaise ou l’on a ajouté à la patte (longue du double des pattes ordinaires) deux clef dont l’une pour l’Ut dièze et l’autre pour l’Ut naturel en bas, je la désaprouve  hautement. Ces deux tons hors de la naturel de cette Instrument; n’ont et ne peuvent avoir de consistance et nuisent absolument au reste je pourrais même dire que peu de personne ne s’en servent qu’à cause de leur Originalité; ma preuve est que les Maitres connus n’en font point d’usage.

Il ne s’en suit cependant pas de là que je veuille blâmer les petites Clefs que des recherches justes on fait ajouter à la Flûte ordinaire pour remedier aux Sons bouchés qui de trouvent dans le bas, tels que le SOL dièze ou LA bémol et le SI bémol ou La dièze elles sont d’une grande nécessité dans les morceaux lents et surtout quand les Notes ci dessus désignées, sont soutenués. Quoique je ne m’en serve point je les approuve, mais dans ces cas là seulement, car pour les traits, elles deviennent inutiles et ne servent qu’à ajouter à la difficulté, la maniere la plus simple étant suivant moi la meilleure je ne puis trop recommander aux Ecoliers de la mettre le plus qu’ils le pourront en pratique.

F. Devienne 1795? p. 3 (edition Böhme / Hamburg) Quant aux Flûtes dites à l’Anglaise ou l’on a ajouté à la patte (longue du double des pattes ordinaires) deux clef dont l’une pour l’Ut dièze et l’autre pour l’Ut naturel en bas, je les approuve, en ce qu’elles rémédiant aux sons bouchés qui se trouvent dans le bas, tels que le Sol dièze ou La bémol et le Si bémol ou La dièze, elles sont d’une grande nécessité dans les morceaux lents, et surtout quand les notes ci_dessus désignées, sont soustenues. J’engage mes écoliers  à en faire usage.

In Asehung aber der sogenannten englischen Flöten, wo das untere Stück, doppelt so lang, als wie gewöhnlich und mit zwey neuen Klappen, die eine für Cis, die andere für C in der Tiefe versehen ist, so halte ich diese Klappen für eine nützliche Erfindung, indem dadurch die dumpfen Töne in der Tiefe, als Gis As B und Ais verbessert werden; übrigens sind sie bey langsamen Stücken sehr nothwendig, zumal bey anhaltenden Tönen. Ich empfehle sie daher meinen Schülern. [verkürzte und im Sinn verfälschte Version der Originalausgabe!]

T. Monzani 1801 p. 16 The C natural lower Key is seldom used on account of its inutility and it is found by experience that the upper notes of a Flute with six Keys are allways harder to blow and sharper than the lower, a five key’d Flute is found to blow easier, better in tune, and less liable to accidents.

Hugot / Wunderlich 1807 p. 36 Article Douze. De l’avantage de se servir d’une Flûte à trois petites clefs. 1°. Pour tous les morceaux, quand il se trouve un ou plusieurs bémols, ou dièzes à la clef. 2°. Pour la justesse de tous les demi-tons en général, et principalement pour ceux de l’octave en bas, tel que si bémol, ou le la dièze qui naturellement sont sourds et faux. 3°. Pour donner plus de force et de justesse au fa dièze ainsi qu’au fa bécaré. 4°. Pour égaliser les sons foibles et leur donner plus de forcer dans le grave. 5°. Pour toutes les octaves et sur-tout par demi-ton. 6°. Pour la facilité de beaucoup de traits qui seroient souvent très difficiles et sans aucun effet. 7°. Pour la justesse des trilles majeurs et mineurs, et enfin pour rendre parfaite et brillante l’exécution sur cet instrument.

Hugot / Wunderlich 1807 S. 36 Zwölfter Abschnitt. Vorteil einer Flöte mit drei kleinen Klappen. Er zeigt sich 1) in allen Stücken , wo ein oder mehrere Be, oder auch Kreuze vorgezeichnet sind. 2) In der Richtigkeit aller halben Töne überhaupt, und besonders der tiefen Oktave, wie b oder aus, die von Natur aus dumpf und falsch sind. 3) In der Kraft und Richtigkeit des fis wie f mit [Auflösezeichen]. 4) In der Gleichheit der schwachen Töne, und der Kraft in der Tiefe. 5) In allen Oktaven, besonders chromatischen. 6) In der Leichtigkeit mancher Gänge, die oft sehr schwierig und ohne Wirkung seyn würden. 7) In der Richtigkeit der Triller, und endlich in der vollkommnen und glänzenden Ausführung überhaupt.

J. Wragg 1806-1825 p. 15 A few cursory Remarks on an Eight Keyed Flute. In which are shewn the Advantages to be derived from an Instrument of that Description.

The more perfect the Intonation of any Instrument is, the more valuable it becomes. An eight Keyed Flute has many advantages in that respect which a five or six keyed Instrument is deficient in; for which reason, in my opinion, it is preferable to either of the latter. I am fully aware that it will be said in answer to this assertion of mine, that even a six keyed Instrument does not answer so well as a five: then how should an eight? To such I beg leave to reply, that if a Flute is not made with Patent Keys, their observation may be well founded; but if, on the contrary, an instrument is made with Patent Keys, and care is taken in the well fitting them, I must entirely differ from them in their assertion. As a further proof of my opinion respecting an Eight Keyed Flute being well founded, I have played on one of that description a considerable time; my profession compels me to carry it with me to different parts of the Town, ( by which means it is rendered more liable to accidents) and I never found it out of order. Suffice it to say, that if one key can be made to stop closely, I am very confident, with great care on the part of the Flute Maker, an Eight keyed Flute can be made to stop as well, and is as little liable to injury as a five or six keyed one, and at the same time superior, being more perfect.

A short description of an Eight Keyed Flute.

As the space I have here allotted will not admit of my entering into a long detail on the subject before us, I hope the few following lines, with the examples annexed, will be found fully sufficient to answer every purpose required. I have endeavoured to lay them down in as plain a manner as possible, and I hope they will be found of utility to every Gentleman who plays on an Instrument of the above description. The difference between a six and an Eight keyed Flute consists, first, in the latter having a key between the first and second hole, on the same side as the G# key, which is used generally for the Shake on B where C is natural, and also in certain passages in Music which are rendered easier thereby: – Secondly, in having a long key on the opposite side to the F key, which is brought up to the middle of the G# key, and made use of with the little finger of the left hand, in those passages which will not admit of the common F key; by which means you have a fine F in a beautiful Adagio, &c. where (were it not for the aforesaid long key) you must often finger it after the manner of a Flute with only one key; by which method of Fingering, the Intonation to a nice ear is certainly not so fine. This last mentioned key is also used with great effect in forming the Resolution to that Shake on F, in a key where E is flat, and which cannot be performed so well on any other kind of Flute. All these, without adducing any other, are, I think, very cogent reasons for giving the preference to an Eight keyed Flute. … (ex.)

J. Wragg 1809 p. 15 NB Sometimes the Key for the Shake on B, where C is natural, is made on the same side of the Flute as the Bb Key; but being, in that case, a long Key, it is very liable to injury; for which reason I prefer the method as above described.

Ch. Nicholson 1816 / 2 p. 13 Later improvements have introduced two more additional Keys on the Flute being the Seventh, & Eighth __ The Seventh is generally termed the C natural Shake Key, and is placed on the middle joint, parallel with the Bb Key; and used with the fore finger of the Right Hand__it is used for a Shake on B natural (finger’d the usual way.) __ it likewise serves for a Shake on A with B. The Eighth, is for a Shake on E with F natural, & is placed on the third, or, Right Hand joint, opposite to the usual curved F Key, & used with the little finger of the Left Hand __ it is likewise of infinite service to the Performer in Flat Keys, as it enables him to produce a perfect F in Passages, in which, the curved Key cannot possibly be used.

J. Wragg 1817, 1818 p. 15 NB Sometimes the Key for the Shake on B, where C is natural, is made on the same side of the Flute as the Bb Key; but being, in that case, a long Key, it is very liable to injury; for which reason I prefer the method as above described. I have seen several of the long Keys, for the last mentioned Shake, bent, and also broken in the act of unscrewing the second Joint of the Flute, and by being carried in the pocket.

Wragg 1825 p. 15 NB The late improvements in the Keys of the Patent Flute as manufactured by CLEMENTI & Co. renders the long B Shake Key peculiarly desirable, as the newly invented ELASTIC PLUGS which they have adapted to their Keys, are so constructed, that the most Perfect Shake or the most rapid Chromatic Passage may be performed, without the least noise the Action of the Keys; an advantage which has long been a desideratum, and which must be apparent to all who play the Instrument, and have experienced the unpleasant rattling noise from the Keys of the Patent Flute on the usual mode of construction.

J. Beale 1821? p.56 On Page 7 is a compleat Scale for the Flute with additional Keys which is sometimes made with a sliding joint to make its pitch flatter, or sharper as may be found necessary to tune it with any other Instrument (On the slide joint are marked 4, 5, 6.) Nr. 5 is the Concert pitch, Nr. 6, is Sharp pitch, and Nr. 4 Flat pitch: At the top of the Flute there is an Ivory screw fixed in the Cork, marked with the same figures; therefore which number you draw your joint out to, the Cork must be screwed to the same figure. Some Flutes with additional Keys, have three middle joints instead of the sliding tube, which are marked in the same manner, consequently whatever middle joint you have in your Flute, the Cork must be screwed to the same number.

Of the Eight Key’d Flute.

Which has been lately introduced, it has two additional extra Keys; one of which is used to slur the middle F, to D Naturel or E Flat, as (ex.) and is a long Key fixed on the opposite side to the F Natural Key, and used by the little finger; the other is used to shake B Natural in the Key of A Minor, which is better than without the Key; yet a Flute enoumbered with so many Keys is evidently more liable to accidents than one with a less number, and this more than over balances any trifling advantages which might be derived from them may even the lower C Natural Key is but seldom used, and it is proved by experience as well as the decided opinion of the best Masters, that a Flute with 5, or 6 Keys, is far preferable to any other.

J. Beale 1822? p. 59 On Page 7. and 8. are complete Scales for the Flute with additional Keys which is sometimes made with a sliding joint; to make its pitch flatter or sharper, as may be found necessary to tune it with any other Instrument; on the slide joint is marked 4, 5, 6, Nr. 5 is the Concert pitch, Nr. 6, is Sharp pitch, and Nr. 4 is Flat pitch: at the top of the Flute is an Ivory screw fix’d in the Cork, mark’d with the same figures; so whatever number you draw your joint out to, the Cork must be screwed to the same figure. Some Flutes with additional keys, have three middle joints instead of the sliding tube, which are mark’d in the same manner, consequently whatever middle joint you have in your Flute, the Cork must be screwed to the same number.

Of the German Flute with the 7th. 8th. or 9th. long extra Keys; and their use.

The 7th. Key is a long Key plac’d on the same side of the Flute as the Bb Key, and is principally us’d to shake B with C, it likewise answers very well to shake A with B, and is very useful in such passages as the following, where the B and C, are play’d rapidly (ex.). Finger B, and make all the C’s marked thus x____by opening the long Key.___the shake to be made with the Key likewise.

The next extra or 8th. Key, is a long Key plac’d opposite to the F key and us’d by the little finger of the left hand to slur the middle F to D, or Eb; (ex.) … The last or 9th long extra Key, joins the Bb or thumb Key, and is useful to shake G with A, __ G# with A, and A with Bb, and is to be us’d with the first finger of the right hand and is useful in such passages as under. (ex.)

A.B. Fürstenau 1825 S. 10 Die vorgeschlagenen Klappen (C Bb G# 2F D# C# C B) sind die wesentlich nothwendigen; mehrere würden überflüssig und dem Instrumente nachtheilig seyn, indem durch zu viele Löcherbohrungen der Ton leichtgehemmt werden könnte. Die am Fussstücke angegebene H-Klappe wäre auch noch leicht zu entbehren, trüge sie nicht zu einer besseren Höhe bei. Indessen sind die vor einigen Jahren in Wien noch angebrachten Klappen für die tiefen Töne B, A, Gis und G höchst überflüssig, zumal da diese Töne nicht mehr im Reiche der Flöte liegen, und durch die Verlängerung des Instruments mit den langen Klappen die Flöte sehr schwer zu halten ist, auch dadurch die rechte Hand an der Fertigkeit durchaus leiden muss.

E. Walckiers 1829 p. XVIV La tête est percée d’un trou nommé Embouchure (1), et à l’extrémité de la tête est un Bouchon qu’ordinairement une vis rend mobile. Le corps du milieu contient 3 trous et 3 clef: la clef de Lab, de sib, et d’ut naturel (2). Le petite corps contient 3 trous et une clef: la clef de Fa (3).

(1) Elle doit être proportionnée aux Lèvres: de grosses Lèvres veulent une Embouchure un peu plus grande et ovale; des Lèvres minces, au contraire, en exigent une plus petite et plus ronde.

(2) Quoique cette dernière Clef ne soit point adopté par tous les Professeurs, elle est si praticable qu’elle ne peut manquer de devenir d’un usage général. En 1827 Mr. Godfroy ainé a adapté sur le corps du milieu une Clef pour triller le 3me RÉ avec le 3me MI naturel.

(3) Il y a des flûtes qui ont une 2me Clef de fa, qui se prend avec le petit doigt de la main gauche, dans des cas ou l’autre n’est point praticable.

… La pompe est une coulisse adaptée à la tête, qui, pouvant se tirer plus ou moins, produit le même effet que les corps de rechange. Mais cette pompe, qui est en métal, a l’inconvénient de nuire à la sonorité et la justesse de l’instrument, aussi peu d’artiste en font usage.

(1) Les Anglais ont une Patte plus longue que la nôtre sur laquelle ils ont placé deux clefs pour faire l’ut dièze et l’ut naturel: on la nomme Patte d’ut. Un des avantages de cette Patte est de hausser les notes(?) d’en haut, qui sont naturellement un peu basses sur les flûtes ordinaires. Plusieures fois on a vainement tenté de l’introduire en France; cependant depuis quelques temps les efforts de plusieurs artistes semblent devoir bientot triompher les répugnances. Les Allemands ont encore renchéri sur les Anglais; ils ont des flûtes qui descendent au si naturel, voire même au sol.

Th. Lindsay 1828 p. 2 In respect to the number of keys, much may be done on a four-keyed flute: but then, the lower C and C# being excluded from the Scale, and several considerable advantages of fingering also forfeited, we arrive at the conclusion, that an instrument with fewer than six keys must necessarily be very defective. Now seven keys are doubtless better than six, and eight again preferable to seven; therefore an EIGHT-KEYED FLUTE is what we consider a perfect instrument. The seventh key is desirable for the shake on B, and the eighth, or long F key, is necessary for slurring passages in the Flat keys, where C, D, or Eb is succeeded by F and which it is scarcely possible to effect without the E being heard between. The author is aware that this opinion is opposed to a very high authority, no less than to that of Mr. Nicholson himself, mais n’importe, eight keys certainly constitute a more perfect instrument than seven keys for although that great performer has not the eight keys on his own Flute, and, it cannot be denied, plays every description of passage in perfection, yet the author has never met with another Flautist who could slur the passages for which the long F key was invented, without using the common cross fingering for the F, and then the note, as every one knows, is considerably too sharp. The long F key should be made with a shoulder, to ride over or clear the B shake key, whilst the joints are unscrewing: if not so constructed, these two keys often come in contact when taking the joints asunder, and sometimes spoil the flute.

L. Drouët 1830 p. 39, 40 In the following Examples the F natural is most easy with the long key. _ With the small F key execution would be awkward, and using in such cases the false fingering it would be extending trick and quackery to a most interminable length. As for the perforation of the long F key, the reader may be assured that it makes no difference whatever with regard to tone of the quality of the instrument. More perforations indeed may be made in the instrument without spoiling its tone, provided that the bore is made accordingly. It is easy to convince ourself of the truth of this remark, for if a 7 and an 8 keyed flute be tried perfectly alike in all respects except the perforation, the reader will find as I have found, that both instruments with regard to tone are perfectly alike. (…) though I have an aversion to all sorts of keys, it is my duty here to state, that the long F key possesses many facilities and perfections, and for those who like flat keys, and lower notes it is undoubtedly one of the most useful. And after all if it were necessary the flute could be made in such a manner that the perforation could suffice for the two F keys.

Ch. Nicholson 1836 p. 6 The music of the present period requires a flute with seven keys, and many (particularly those who have been in the habit of using it) will find in some passages an advantage in the eighth or long F key. More than this number will only render the instrument complicated particularly those attached to the bottom joint, to produce the lower B and Bb: these additional weight to that end of the instrument; therefore, the difficulty of keeping the top joint steady and firmly fixed to the lips, is very much increased.