Baroque Flute fingering chart

Fingering chart for the baroque flute. ● means to cover the hole. ○ means to uncover the hole. ◐ means to half-hole. ■ is the key, and □ means to press the key.

There is no fingering chart that works for every instrument and every player. The same fingerings may sound sharper or flatter on different instruments. You must figure out which fingerings work best for each note. Adjusting your embouchure and breath, along with shading and half-holing also allows you to correct the intonation. Notes that usually need correcting are F (too sharp), and F# (too flat). The low C#/Db given below is only playable by bending D downwards. On later flutes some cross fingerings won’t work as well, but you’ll be able to play notes higher than A on the third octave.

Fingerings can be filtered by author/method/instrument/maker by clicking on the buttons below. Notes about the fingerings are shown after the chart. You can read additional details about authors/makers and check links to other resources below the chart.

C#, Db ●●● ●●● ■ D ●●● ●●● ■ D#, Eb ●●● ●●● □ E ●●● ●●○ ■ ●●● ●●○ □ E# ●●● ●○● ■ ●●● ●○● □ Fb ●●● ●●○ □ ●●● ●●○ ■ F ●●● ●○● ■ ●●● ●○● □ F# ●●● ●○○ □ ●●● ●○○ ■ ●●● ○○● ■ ●●● ○●● ■ Gb ●●● ○●● ■ ●●● ○●● □ ●●● ●○○ ■ ●●● ●○○ □ Fx ●●● ○○○ ■ G ●●● ○○○ ■ ●●● ○○○ □ ●●● ○○● □ G# ●●○ ●●● ■ ●●○ ●●● □ ●●○ ●○● □ ●●○ ●○● □ Ab ●●○ ●●● ■ ●●○ ○○● ■ ●●○ ●●● □ ●●○ ●●○ ■ ●●○ ●○● □ A ●●○ ○○○ ■ ●●○ ○○○ □ Bbb ●●○ ○○○ □ A# ●○● ●●○ ■ ●○● ●●● ■ ●○● ●●● □ ●○● ●●○ ■ ●○● ●●○ □ ●○● ●○● ■ ●○● ●○● □ Bb ●○● ●●○ ■ ●○● ●●● ■ ●○● ●●● □ ●○● ●○● ■ ●○● ○○○ □ ●○● ●●○ □ ●○● ●○● □ B ●○○ ○○○ ■ ●○○ ○○○ □ ●○○ ●●● □ B# ○●● ●○○ ■ ○●● ○●● □ ○●● ○○○ □ ○●● ○○○ ■ ○●○ ●●● □ ○●○ ●●○ □ Cb'' ●○○ ○○○ □ ●○○ ○○○ ■ ○●● ●●○ ■ C'' ○●● ○○○ ■ ○●○ ●●○ ■ ○●● ○○○ □ ○●● ○○○ ■ ○●○ ●●● □ ○●● ○●● □ ○●○ ○○○ ■ ○●○ ○○○ □ ○●○ ●●○ □ C#'' ○○○ ○○○ ■ ○○○ ○○○ □ ○○○ ●●● ■ ○○○ ●●● □ ○○○ ○●● □ Db'' ○○○ ○○○ ■ ○○○ ○○○ □ ○○○ ●●● ■ ○○○ ●●● □ ○○○ ●○○ □ Cx'' ○●● ●●● ■ D'' ○●● ●●● ■ ●●● ●●● ■ D#'' ●●● ●●● □ ○●● ●●● □ Eb'' ●●● ●●● □ ○●● ●●● □ E'' ●●● ●●○ ■ E#'' ●●● ●○● ■ ●●● ●○● □ Fb'' ●●● ●●○ ■ ●●● ●●○ □ F'' ●●● ●○● ■ ●●● ●○● □ F#'' ●●● ●○○ □ ●●● ●○○ ■ ●●● ○●● ■ ●●● ○●● □ ●●● ○●○ □ Fx'' ●●● ○○○ ■ ●●● ○○○ □ Gb'' ●●● ○●● □ ●●● ●○○ □ ●●● ●○○ ■ G'' ●●● ○○○ ■ ●●● ○○○ □ G#'' ●●○ ●○○ ■ ●●○ ●○● □ ●●○ ●◐○ □ ●●○ ●○○ □ Ab'' ●●○ ●○○ ■ ●●○ ●○● □ ●●○ ●◐○ □ ●●● ●●○ □ ●●○ ●○○ □ ●●○ ●○● ■ A'' ●●○ ○○○ ■ ●●○ ○○○ □ A#'' ●○● ○○○ ■ ●○● ○○○ □ ●●○ ●●● □ Bbb'' ●●○ ○○○ □ Bb'' ●○● ○○○ ■ ●●○ ●●● □ ●○● ○○○ □ B'' ●○○ ○○○ ■ ●○○ ○○○ □ ●○○ ●●● ■ ●○○ ●●● □ ●○● ●●● □ B#'' ○●● ●●● □ ○●● ●●○ □ ○●○ ●●● □ ○●○ ●●○ ■ ●○● ●○● □ ○●○ ●○● ■ ○●● ●●○ ■ Cb''' ●○○ ●●● □ ●○○ ○○○ ■ ●○○ ○○○ □ ●○○ ●●● ■ ●○○ ●●○ □ C''' ○●○ ●●○ ■ ○●○ ●●◐ □ ○○● ○●● ■ ○●○ ●●● □ ○●○ ●○● ■ ○○● ○○○ □ ○●○ ●○● □ ○●○ ●●○ □ ○●● ●●○ □ ●○● ●○● □ ○●● ●●○ ■ ○●○ ○●● □ ●●● ●○● □ C#''' ○○○ ●●● □ ○○● ●○○ □ ○●● ●○○ □ ○○○ ○○○ □ ○○○ ○○○ ■ ◐●● ●○○ □ ○●● ●○● □ ○○○ ○●● ■ ○○○ ●○● □ ○○○ ●●○ □ ○○○ ○●● □ ○○○ ●○○ □ ○○● ●○○ ■ ○○● ●○● □ Db''' ○●● ●○● □ ○○○ ○○○ □ ○○○ ●●● □ ○○○ ○○○ ■ ○○○ ●○● □ ○●● ●○○ □ ○●○ ●○● □ ○○● ●○● □ ○○● ●○○ ■ ○○○ ●●○ □ Cx''' ○●● ○○○ □ ○●● ○○● □ D''' ○●● ●●● ■ ○●● ○○○ □ ○●● ●○● ■ ●●● ○○○ □ D#''' ●●● ○●● □ ○●● ◐●● □ ○●● ●●● □ ○●● ○●● □ ●●● ●●● □ Eb''' ●●● ○●● □ ○●● ●●● □ ○●● ○●● □ ●●● ●●● □ E''' ●●○ ○●● □ ●●● ●●○ □ E#''' ●●○ ●○○ □ ●●● ●●○ ■ ●●○ ●○○ ■ ●●○ ●●○ ■ Fb''' ●●○ ○●● ■ ●●○ ○○● □ ●●○ ○●● □ F''' ●●○ ●◐○ □ ●●● ●●○ ■ ●●○ ●○○ □ ◐●○ ●●○ □ ●●○ ●○○ ■ ●●○ ●●○ ■ ●●○ ●●○ □ F#''' ●○● ●●● ■ ●○● ●●○ ■ ●●● ●○○ ■ ●●○ ●○○ ■ ●●○ ●○● ■ ●●○ ●○○ □ ●○● ●○○ ■ ●○● ●○● ■ ●○○ ●○○ □ Fx''' ●○● ○○○ □ ●○● ○○○ ■ Gb''' ●○● ●●○ ■ ●●● ●○○ ■ ●●○ ●○○ ■ ●○● ●○○ ■ ●●○ ●○● ■ ●●○ ●○○ □ ●○● ●●● ■ ●●○ ○○● □ ●○● ●○● ■ ●○○ ●○○ □ ●●○ ●○● □ G''' ●○● ○○○ ■ ●○● ●○● ■ ●○● ○○○ □ ●○● ●○● □ ●○● ●●● □ ●●● ○○○ ■ ●●● ●●○ □ G#''' ○○● ○○○ □ ○○● ○○○ ■ ○●● ○○○ ■ ○○● ○●● □ ○○● ○○● □ ○○● ○●● ■ ○○● ●○● □ Ab''' ○○● ○○○ ■ ○○● ○○○ □ ○○○ ○○○ ■ ○○● ○●● □ ○○● ○○● □ ○○● ○●● ■ ○○● ●○● □ A''' ○●● ●●○ ■ ○●● ●●○ □ A#''' ●●● ○○○ □ ●●○ ●○○ □ ○●○ ●○○ □ ○●○ ●○○ ■ ○●○ ●●○ ■ Bb''' ●●○ ●○○ □ ○●○ ●○○ ■ ●●○ ●○○ ■ ○●● ●○○ ■ ○●○ ●●○ ■ B''' ○◐○ ●○○ □ ●○○ ●○○ ■ ●●○ ●○○ □ ●●○ ○○○ □ B#''' ●○● ○●○ ■ Cb'''' ●◐○ ●○○ □ ●○○ ●○○ □ C'''' ●○● ○●○ ■ ○●○ ○●○ ■ ●○● ○●○ □ C#'''', Db'''' ○○● ○●○ ■ D'''' ○●● ●●● ■

Notes

The fingering chart has a bottom C#/Db.
Some fingerings and notes have a * above them, but I couldn’t find an explanation about it in the book. They are:

F# ●●● ●○○ □
Gb ●●● ●○○ ■
G# (above note)
Ab (above note)
A# ●○● ●●○ ■ and ●○● ●○● ■
Bb ●○● ●●○ ■ and ●○● ●○● ■
B# (above note)
Cb'' (above note)
C#'' (above note)
Db'' (above note)
F#'' ●●● ●○○ ■
Gb'' ●●● ●○○ ■
G#'' ●●○ ●○○ ■
Ab'' ●●○ ●○○ ■
A#'' ●○● ○○○ ■
Bb'' ●○● ○○○ ■
Cb'' (above note)

There’s also a tie mark above G to C'', and above G'' to B''.

To make F tone (F-tone of low and middle position) play the flute by regulating with the lip while turning the instrument toward inside. If no regulation with the lip is made, the tone will be a little higher.

Some fingerings are written with a parenthesis:

G is written as ●●● ○○○ □ (■)
A is written as ●●○ ○○○ □ (■)
C#'' is written as ○○○ ○○○ □ (■)
D'' is written as (●) ○●● ●●● ■
G'' is written as ●●● ○○○ ■ (□)

Instructions given for specific notes:

F''' ●●○ ●○○ □
It is very difficult to make this sound. To produce this sound, turn the embouchure a little outside and adjust your blow, taking the ●●○ ●◐○ □ fingering.
A#''', Bb''' ●●○ ●○○ □
Turn the embouchure outside and give a strong blow.

Flats and sharps are not separated on the fingering chart. I separated them to match other sources.
The fingering chart is for all Bernolin-made instruments, but some fingerings have specific instruments written above it:

Gb ●●● ○●● ■ → Hotteterre, Delusse, Rottenburgh 442
G#'' ●●○ ●○● □ → Hotteterre
Db''' ○○○ ●○● □ → Delusse 415, Rottenburgh 415
D''' ○●● ●○● ■ → Hotteterre 415, Rottenburgh 415
A''' ○●● ●●○ ■ → Hotteterre 415, Delusse 415, Rottenburgh 415

The fingering chart is for all Tomaszewicz-made instruments.
Not every note has a flat or sharp, and they are not separated on the fingering chart. There’s no D#, Gb, A#, for example.
In the baroque model Rothenburgh the last notes in the third octave will play well after 2-3 months.
Some fingerings have a ○ with a slash over it, and there’s no clarification of the meaning anywhere. It can be an optional fingering hole or a half-hole, but they are given as an alternate fingering on the chart above. They are marked with a ◍ below:

Eb'' ◍●● ●●● □
Eb''' ◍●● ○●● □
F''' ●●○ ●◍○ □

Notes from Wilson about the fingerings:

D - Flat on some late one-key flutes.
D#, Eb - Remember to play Eb sharper than D#.
E - The D# key should not be open except in unusual cases. Use of the key usually increases resonance, but makes the note too sharp. Still, if one is very careful to keep the pitch down, one can produce a louder sound with the key open, and this may be useful on long notes.
E#, F - Tends to be sharp, especially for E#.
F# - The F# tends to be flat; keep the D# key open whenever possible.
G - The key is optional. On some flutes, resonance is increased when it is open.
G#, Ab - Some players are embarrassed by the veiled sound of this note. But one should enjoy it. No other instrument can make a sound like this. Don’t blow hard.
A - The key is optional. I often prefer the sound quality, on some flutes, with it closed, but this only matters for long notes.
Bb - Whenever possible, use ●○● ●●○ ■ for Bb. With some flutes, on a long Bb, one can open the key and cover the embouchure a bit more with ●○● ●●○ ■ to get a more resonant sound. ●○● ●○● ■ is good in alteration with F.
B - The key is optional.
C'' - ○●● ○○○ ■ is the standard baroque fingering for C''. ○●○ ●●● □ came in early in the 19th century. Its sound is less veiled and matches the classical taste better; but be careful to keep the pitch down. It also works for C''', and so is good for octaves.
C#'', Db'' - Tends to be flat. Be careful to make sure Db'' is sharp enough. The key is optional on ○○○ ○○○ ■. Some of the right hand holes may be kept closed, for convenience, in passage work. ○○○ ●●● □ can allow a more resonant and louder sound; also try closing only some of the right hand holes.
D'' - Hole 1 may be partially closed if desired.
D#'', Eb'' - Do not open hole 1.
E'' - Keep the key closed.
E#'', F'' - Tends to be sharp, especially for E#''.
F#'' - It tends to be flat; keep the D# key open whenever possible.
Gb'' - It tends to be sharp. It can be used for F#'' (e.g. in a passage involving E#'', F#'', G#'') in a slow movement.
G'' - The key is optional.
G#'', Ab'' - Use ●●○ ●○● □ whenever possible. ●●○ ●○○ ■ can be used sometimes for Ab'', or for a G#'' between two A’s in late 18th or early 19th century music. The key is optional on ●●○ ●○○ ■.
A'' - The key is optional.
A#'' - The key is optional. (Use ●●○ ●●● □ for Tromlitz flute copies)
Bb'' - ●●○ ●●● □ is the best fingering for Bb'', but tends to be sharp. (Use ●○● ○○○ ■ for Tromlitz flute copies)
B'' - ●○○ ○○○ ■ is the normal fingering, though it is sometimes a bit flat; the key is optional. The other two fingerings tend to be sharp, but are useful e.g. when the B'' must be sustained sweetly and softly, or for Cb'''.
B#'' - On many flutes it does not speak well and is almost too flat, so it may be better to adjust one of the fingerings for C''' by embouchure or shading a hole.
C''' - ○●○ ●●● □ is the normal fingering for C''', and should be used whenever possible. The others tend to be sharp. It can help to close hole 1 part way on ○●● ●●○ □.
C#''', Db''' - ○●● ●○● □ can be bit flat and stuffy on some flutes, so I tend to use ○○● ●○● □ a lot (hole 3 is optional on some flutes). ○●● ●○○ □ is primarily a 19th century fingering and is often sharp; shade or cover hole 1 part way when possible. The other two fingerings work well on some flutes, and hole 6 may be covered in ○○○ ●●○ □.
D''' - ○●● ○○○ □ is the best. The pitch is very sensitive to the cork position. ○●● ●○● ■ is often useful for octaves. Hole 5 may be closed partially or even completely.
D#''', Eb''' - Sometimes a bit flat for Eb'''; correct it with the embouchure.
E''' - Tends to be flat on some flutes, especially early three piece flutes. Leaking finger hole 1 will help with the pitch.
E#''', F''' - This note does not speak well on many flutes and is sometimes impossible, especially on early flutes. It tends to be sharp. Shading or covering part of hole 5 helps both with the speech and the pitch.
F#''', Gb''' - ●●● ●○○ ■ is the best, though ●●○ ●○○ ■ works for some flutes and some players. ●○● ●●● ■ tends to be sharp (so is good for Gb'''); hole 3 is optional. ●○○ ●○○ □ can be quite useful on late 18th or 19th century flutes.
G''' - Often a good note.
G#''', Ab''' - Choose the one that works best. I always choose ○○● ○○● □.
A''' - Can be difficult of speech. Sometimes sharp, in which case shading holes 1 and/or 6 helps a little.

Authors

Jacques-Martin Hotteterre
29 September 1674 – 16 July 1763

French composer and flautist who was the most celebrated of a family of wind instrument makers and wind performers. Hotteterre was also an internationally celebrated teacher to aristocratic patrons. He wrote one method for the transverse flute, recorder, and oboe, published in 1707, as well as a method for the musette, published in 1737.

📖 Op. 1 Principes de la flûte traversière, ou flûte d’Allemangne, de la flûte à bec ou flûte douce et du hautbois, divisez par traictez (1707) 🔗 https://en.wikipedia.org/wiki/Jacques-Martin_Hotteterre 🔗 https://imslp.org/wiki/Principes_de_la_flute_traversiere_de_la_Flute_a_Bec_et_du_Haut-bois_Op.1_(Hotteterre_Jacques)

Peter Prelleur
c.1686 – before 1758

French composer, harsichord player and organist, as well as theoretician. A Huguenot, lived most of his life in England. Prelleur is perhaps best know for his publication The Modern Musicke-Master, which contains an introduction to singing, as well as to playing the recorder, flute, oboe, violin and harpsichord.

📖 The Newest Method for Learners on the German Flute, from The Modern Musick-Master or the Universal Musician (1730-31) 🔗 http://www.hoasm.org/VIIA/Prelleur.html 🔗 https://imslp.org/wiki/The_Modern_Musick-Master_or_The_Universal_Musician_(Prelleur_Peter)

Michel Corrette
10 April 1707 – 21 January 1795

French composer, organist and author of musical method books. He wrote nearly twenty music method books for various instruments - the violin, cello, bass, flute, recorder, bassoon, harpsichord, harp, mandolin, voice and more. These pedagogical works by Corrette are valuable because they give lucid insight into contemporary playing techniques.

📖 Méthode pour apprendre à jouër la flûtte (1740) 🔗 https://en.wikipedia.org/wiki/Michel_Corrette 🔗 https://imslp.org/wiki/Methode_pour_apprendre_a_jouer_la_flutte_(Corrette_Michel)

Johann Joachim Quantz
30 January 1697 – 12 July 1773

German composer, flutist and flute maker of the late Baroque period. He composed hundreds of flute sonatas and concertos, and wrote On Playing the Flute, a treatise on flute performance. His works were known and appreciated by Bach, Haydn and Mozart.

📖 On Playing the Flute (1752, Berlin 1753) 🔗 https://en.wikipedia.org/wiki/Johann_Joachim_Quantz 🔗 https://imslp.org/wiki/Versuch_einer_Anweisung_die_Flote_traversiere_zu_spielen_(Quantz_Johann_Joachim)

Antoine Mahaut
1719 – c.1785

Flemish flautist, composer, and editor. Mahaut’s work enjoyed a lot of publications during the composers life. Aside of musical works, he also wrote a flute method and a monthly magazine was also published by him featuring his aria’s and songs written in an Italian style.

📖 Nouvelle méthode pour apprendre en peu de temps а jouer la flute traversière ( 1759) 🔗 https://en.wikipedia.org/wiki/Antoine_Mahaut 🔗 https://imslp.org/wiki/Nouvelle_Methode_pour_jouer_la_Flute_Traversiere_(Mahaut_Antoine)

Charles de Lusse
c.1720 – c.1774

French flutist and composer. De Lusse is mentioned in contemporary music prints only as Monsieur Delusse or M.D.L. De Lusse also worked as a flute teacher and wrote a flute method (L’art de la flûte traversière).

📖 L’art de la flute traversiere (c.1760) 🔗 https://de.wikipedia.org/wiki/Charles_de_Lusse 🔗 https://imslp.org/wiki/L'art_de_la_flute_traversiere_(De_Lusse_Charles)

Compleat Tutor

📖 The Compleat Tutor for the German Flute (c.1766) 🔗 https://www.loc.gov/item/10013640/ 🔗 https://archive.org/details/compleattutorfor00char/page/n5/mode/2up

Lewis Granom
c.1700 – c.1780

Lewis Christian Austin Granom was a flute player, trumpeter and composer, born in London of immigrant parents. Lewis was already active as a teacher in 1729 and at some point he made the decision to specialise in the flute.

📖 Plain and Easy Instructions on Playing the German Flute (1766) 🔗 https://orca.cardiff.ac.uk/50783/

Luke Heron

📖 A treatise on the German flute (1771) 🔗 https://www.loc.gov/resource/muspre1800.101869/?st=gallery

Johann George Tromlitz
November 8, 1725 – February 4, 1805

German flautist, flute maker and composer. He wrote three books on the art of flute playing. About 1775 he gave up public appearances and devoted himself to teaching and working to improve the flute.

📖 Ausführlicher und gründlicher Unterricht die Flöte zu spielen (1791) 🔗 https://en.wikipedia.org/wiki/Johann_George_Tromlitz 🔗 https://imslp.org/wiki/Ausfuhrlicher_und_grundlicher_Unterricht_die_Flote_zu_spielen_(Tromlitz_Johann_George)

Jacob Wragg

📖 The Flute Preceptor (c.1792) 🔗 https://imslp.org/wiki/The_Flute_Preceptor_Op.6_(Wragg_Jacob)

François Devienne
31 January 1759 – 5 September 1803

French composer and professor for flute at the Paris Conservatory. Wrote extensive educational work, including the Méthode. He became known in his day as the "Mozart of the Flute".

📖 Nouvelle méthode théorique et pratique pour la flûte (1794) 🔗 https://en.wikipedia.org/wiki/Fran%C3%A7ois_Devienne 🔗 https://imslp.org/wiki/Nouvelle_methode_theorique_et_pratique_pour_la_flute_(Devienne_Francois)

John Gunn
c.1765 – c.1824

Scottish cellist, writer on music, and professor. Taught violoncello and flute in Cambridge. From 1789 he was in London for several years, making studies in languages and history in his leisure moments

📖 The art of playing the German flute (1793) 🔗 https://en.wikipedia.org/wiki/John_Gunn_(Scottish_writer)

Edward Miller
1731/35 – 1807

English musician, composer and historian of Doncaster. He is most noted as the writer of the hymn tunes Rockingham and Galway. For a time he was a flautist in Handel’s orchestra.

📖 The New Flute Instructor or The Art of Playing the German Flute (c.1799) 🔗 https://en.wikipedia.org/wiki/Edward_Miller_(musician)

Antonio Lorenzoni
10 June 1755 – 30 September 1840

Italian lawyer, jurist and music theorist. Received music education in his youth, but after publishing Saggio per ben sonare il Flautotraverso (1779) he began his profession as a lawyer.

📖 Saggio per ben sonare il Flautotraverso con alcune notizie generali ed utili per qualunque strumento, ed altre concernenti la storia della musica (1799) 🔗 https://en.wikipedia.org/wiki/Antonio_Lorenzoni 🔗 https://www.google.co.jp/books/edition/Saggio_per_ben_sonare_il_flauto_traverso/sIxbAYd-88UC?kptab=overview 🔗 https://play.google.com/store/books/details/Antonio_Lorenzoni_Saggio_per_ben_sonare_il_flauto?id=sIxbAYd-88UC 🔗 http://www.oldflutes.com/charts/lorenzoni/index.htm

Antoine Hugot & Johann Georg Wunderlich
1761 – 18 September 1803 & 2 February 1755 – 1819

Antoine Hugot was a French flutist and composer. Johann Georg Wunderlich was a German composer and flautist. In 1804 Wunderlich published a textbook on flute method and technique. It was a completion of a work by his colleague, Antoine Hugot who had since died.

📖 Méthode de flûte du Conservatoire (1804) 🔗 https://de.wikipedia.org/wiki/Antoine_Hugot 🔗 https://en.wikipedia.org/wiki/Johann_Georg_Wunderlich 🔗 https://imslp.org/wiki/Methode_de_flute_du_Conservatoire_(Various)

John Beale
12 October 1791 – 1833-1839

English pianist, studied piano and music with Johann Baptist Cramer in London. He was appointed piano teacher at the newly established Royal Academy of Music in London, director of music at the Argyle Rooms and private teacher of music in London.

📖 A Complete Guide to the Art of Playing the German Flute (c.1815) 🔗 http://composers-classical-music.com/b/BealeJohn.htm

Charles Nicholson
1795 – 1837

Liverpool-born flautist and composer, who performed regularly in London. Besides giving classes to many students, he wrote tutors for flute-playing which were published throughout the 19th century.

📖 A School for the Flute (1816) 🔗 https://en.wikipedia.org/wiki/Charles_Nicholson_(flautist) 🔗 https://imslp.org/wiki/A_School_for_the_Flute_(Nicholson%2C_Charles)

Robert William Keith
1787 – 1846

English musical composer and writer. Keith compiled instruction-books for pianoforte, flute, and Spanish guitar, and a violin preceptor, which went through many editions.

📖 A New and Complete Preceptor for the German Flute (c. 1815) 🔗 https://en.wikipedia.org/wiki/Robert_William_Keith

James Alexander

📖 Alexander’s Complete Preceptor for the Flute (1821)

George Washington Bown

📖 The Flauto Instructive Compendium or Preceptor for the Flute (c.1825)

Rick Wilson

Richard M. Wilson is a professor of mathematics at the California Institute of Technology and owner of the Old Flutes website. Known to the flute world as a scholar, collector and performer.

🔗 http://www.oldflutes.com/charts/index.htm 🔗 http://www.oldflutes.com/charts/onekey/index.htm 🔗 http://www.oldflutes.com/misc/interview/index.htm

Makers

Aulos (Toyama Musical Instrument Co., Ltd.)
2 November 1954 – Present

Founded by Nobuo Toyama (外山信男) who started to experiment with the manufacture of plastic recorders for schools in the early 1950s. Fingering charts are available here.

Aulos AF-1 (Grenser) Aulos resin-made flauto traverso based on the Grenser design. Pitched at A = 440Hz.
Aulos AF-3 (Stanesby Jr.) Aulos resin-made flauto traverso based on a flute Stanesby Jr. made in about 1730. Pitched at A = 415Hz.

📖 Burakoff, Gerald. “An Interview with Nobuo Toyama.” (The Recorder in Education.) American Recorder 31, no.2 (June 1990): 15-17. ISSN 0003-0724. 🔗 http://www.aulos.jp/en/index.html

Victor Bernolin

French instrument maker, trained as a pianist. Started learning how to make recorders under the guidance of his father Roger Bernolin in 1994. Won the prize for Best Instrument Maker in France in 2006 from the French Ministry of Culture. Fingering chart for his traversos is available here.

Hotteterre Bernolin resin-made flauto traverso based on a copy of the only extant original made by Jacques Hotteterre called Le Romain (about 1700), now part of the collection of the Music Museum in Paris n° E999.6.1. Pitched at A = 415Hz.
Delusse Bernolin resin-made flauto traverso based on a copy of two instruments by Christophe Delusse (circa 1760) in the collection of the Musée de la Musique à Paris under the n° E1368 and E2147. Pitched at A = 415Hz and A = 442Hz.
Rottenburgh Bernolin resin-made flauto traverso replica of the boxwood or rosewood traverso from Godfridus Adrianus Rottenburgh. Pitched at A = 415Hz and A= 440Hz.

🔗 https://bernolin.fr/english/index.htm 🔗 https://www.traversos-bernolin.com/english/index.htm

Grzegorz Tomaszewicz

Polish instrument maker. Has been building, reconstructing and repairing musical instruments since 1990. Also plays ancient wind instruments such as the cornamuse, the shawm, the rauschpfeife, the flute, the recorder, and the dulcimer. Fingering chart for his traversos is available here.

G.A. Rottenburgh (1703-1768) from B. Kuijken collection
A. Grenser (1720-1807) from Germanisches Nationalmuseum Numberg with additional parts in 415 , 430 and 440 Hz
J.W. Oberlender( 1681-1745) Nuremburg
T. Stanesby Jr. (1692–1754)
Hotteterre (around 1700) in 392 Hz
Assisi in 392, 440 and 415 Hz
Naust in 4 parts in 392 Hz

🔗 https://gtmusicalinstruments.com/

Authors

Makers

Links