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 A

T R E A TIS E

UPON THE

MECHANISM AND GENERAL PRINCIPLES

OF

THE FLUTE ;
INTENDED To show THE THEORY of ITs construction,
AND TO ACCOUNT FOR THE DISCR. F. PANCIES WHICH HAVE
RECENTLY APPEARED IN THE DIFFERENT FORMS OF
ITS MANUFACTURF: ;

TOGETHER

W IT H A D E S C R I PT I.O N

NEWLY-CONSTRUCTED FLUTE,

THE old SYSTEM OF FINGERING;

BY

JO HN cLINToN
(Professor of the Flute in the Royal Academy of Music,
Member of the Philharmonic Society, &c.)
Op. 101. PRICE ls,

–aeº-sº-peoa

LoNDON: PUBLISHED by
H. POTTER, No. 2, BRIDGE STREET, WESTMINSTER.
 0

J. MALLETT, PRINTER, WARDOUR STREET, soHo.

l

|
 A TREATISE

UPON THE

MECHANISM AND GENERAL PRINCIPLES

of

THE FLUTE.

–0->

THE pianoforte excepted, no instrument has

been so generally cultivated by amateurs as the
Flute; although, until very recently, the principles
of its construction have been imperfect and little
understood. The reasons for the favour thus
shown to it, are numerous, such as the following:
1, its pleasing quality of tone, approaching more
nearly to the human voice than any other known
instrument;-this distinguished property being
alone sufficient to ensure its wide circulation; 2,
the facility it affords to those who are ambitious
of playing a little upon an instrument, after a
very moderate share of practice; 3, the great
variety of music which has been written for
it, as solos, and pieces in conjunction with
other instruments; 4, the beauty and effect of
its accompaniment to the voice or pianoforte;
and, lastly, its portability, and its moderate price.
For some years back, the flute has undergone an
* variety of alterations, with a view to its
…
 4 |
being rendered more perfect; some of these so
great, and so earnestly insisted upon by each im
prover and manufacturer, as to leave the amateur
in perplexity and doubt, as to which kind and
description of instrument he should ultimately
adopt.
The introduction of a new flute is now-a-days,
of such frequent occurrence, that one is some
times almost induced to think that there are more
new flutes than flute-players. There can, how
ever, be little doubt that the increase of the former
will materially tend to diminish the latter, if indeed
it has not done so already. If these new instru
ments were made with an universal system of
fingering, as formerly, but little or no mischief
would arise; but as they nearly all wander more
or less from the long-established system, the
admirers of the instrument have every reason to
anticipate an unfavourable issue. The object of
this little work, is to explain, simply and without
useless technicalities, the nature and general con
struction of the flute, so as to arrive at some
certain mark or standard, by which we may be
able to determine how far an instrument of this
kind is correct in principle, and how far it
offers a reasonable
the several keys in facility
music. of fingering throughout ſ

It must be here stated, at the outset, that º\

\!
 5

compass of a perfect flute being 37 semitones, is

in principle the representative of a series of
organ-pipes, which are required to be expanded
or diminished both in length and bore, to
produce the required sounds. To effect this
purpose on the flute, it is evident that both me
chanism and arrangement will be required, either
combined or separate.
The flute, in its primitive state, consisted of but
six finger-holes*; the gradual opening of these,
made the scale of D; hence the key of D is called
the natural key of the flute; this class of in

* I have purposely omitted all mention of the flutes of the

ancients, the earliest of which had but threq holes, and were made
of the bones of animals, or of reeds. Two of these instruments
were sometimes joined together, and united at the top, so as to be
played with one mouth-piece; in that form it was known as the
double flute. In Sir W. Hamilton's Etruscan Antiq. vol. i., pl. 124,
we find that double flutes, of equal length and diameter, are fre
quently found represented on ancient sculpture. By degrees the
nnmber of holes was increased to six ; various materials were then
employed in its manufacture, consisting of Boxwood, Ebony,
Laurel, Glass, Porcelain, Ivory, Metal, Silver, and even Gold ; it has
been asserted that Ismenias, a celebrated Theban flautist, paid three
talents (about £600 sterling) for a flute of the latter material. Much
curious and amusing information respecting the flutes of the ancients,
and the great importance that was attached to this instrument even
in the earliest ages, is contained in the musical Histories by Burney
and Fetis, also in a work entitled, “Memoirs of Musick,” by the
Hon. Roger North, Attorney General to James the Second.
 6

strument is used by some regiments in the army

even to this day, and is commonly called the Fife.
So simple was its construction, that its compass
was, of necessity, small ; the intervening semi
tones being almost beyond its reach of production.
To enlarge the compass, therefore, it was found
necessary to employ a number of keys, the first of
which was the D4-key; by degrees others were
added, until it finally appeared in its then most
perfect form, as the eight-keyed flute. But,
although mechanism, combined with arrange
ment was found effectual in practically extending
the compass to 37 semitones, these two were not
found to harmonize, so as to produce each suc
cessive semitone perfect in tune and equal in tone.
The defects of the old flute were therefore glaring,
so much so that few could play it in tune; and
the defects lay chiefly in these particulars. The
holes were not distributed throughout the face
of the instrument as they should be, owing to the
impossibility, if so placed, of reaching them with
the fingers. To explain this briefly will suffice.
The three lowest holes, covered by the two C
keys and the Df-key, are nearly of the same size,
and almost at equal distances; consequently the
following notes are the most equal:
 7

The fourth hole, which, when open, gives EH, is

placed nearly double the distance from the third
hole, as the former are to each other, and is also
considerably smaller; the result is that EH is too
sharp, because the hole is too high; and weak in
sound, because the hole is small: but it was me
cessary to be thus placed, for these reasons—the
third finger of the right-hand could not reach it,
if lower down; and, to compensate for its height,
it required to be reduced in size: hence arose one
obvious imperfection; many similar to which
existed throughout the whole instrument, but are
unnecessary now for me to enlarge upon; let it
suffice to say that all the holes are unequal in
size and distance, and thus cause a departure
from the fundamental principles of the flute, viz.
it being the representative of so many equally
graduated organ pipes. An additional reason
may be assigned for the long-continued unnatural
order of the holes, viz. their removal to a more
correct position would positively destroy some
notes, although it would improve others; this
point will be better understood as we proceed.
The first attempt I can discover to have been
made towards the improvement of the instrument,
was by Mr. Miller, flute manufacturer of Panton
Street, which was directed rather to the bore and
material of the instrument, than to regulating the
 8

size and distance of the holes. In 1810, he ob

tained letters patent for his improvements, which
I find, from two instruments now in my possession,
to have consisted in the adoption of metal instead
of wood, and the cylindrical instead of the conical
bore. In examining the merits of this instrument,
I shall content myself with stating a few ob
jections: first, as to its material; this I consider
most objectionable—the absence of vocality,
richness and body of tone in the metal when
compared with wood; its harsh and shrill
quality, a peculiarity attached to all brass or metal
instruments, added to the unpleasantness of its
use, and its sensibility to heat and cold, causing º

a constant variation in pitch; and, secondly, as

to the bore—the cylindrical form preventing the
possibility of obtaining that gradation requisite
for equality of tone. The flute, it must be re
membered, being the representative of 37 organ
pipes, each of which requires either an expansion
or diminution of its size, must also, in a modified
degree, undergo the same alteration of form. If
the bore be cylindrical, such an alteration is
evidently impracticable; whereas being conical, it
admits of this variety, which is essential for the
production of every good note throughout the
instrument. A proof of this assertion is furnished
from the fact of the lowest note being the best
 9

upon the instrument; which also indicates that

each successive note would be as perfect, could
we change the diameter of the cylinder to suit
it; such an arrangement being impracticable, we
are left to conclude that the metal flute with cy
lindrical bore, proved an entire failure. An ad
ditional objection, of no common kind, presents
itself in the use of this instrument; viz. the stream
of air meeting with no resistance at the apex,
gives a facility in producing sound, but at the same
time it creates a very great difficulty in producing
the best tone of which even it is susceptible; it
likewise renders the sound uncertain in many
points of performance; one of which, is a liability to
break with the least sudden force, as in a sforzando;
and, in order to avoid this failure, a constrained and
painful exertion of the breath is occasioned, which
must be highly injurious to weak lungs.
The first palpable improvement, was effected
by my late esteemed friend, Charles Nicholson,
who, by increasing the size of the holes, and
altering the diameter of the bore, considerably
augmented the volume of tone in the instrument;
nevertheless, the radical defects of the old 8-keyed
flute, as above stated, were left untouched. But
here a fresh objection sprung; viz. the difficulty of
preserving the tune of the instrument with large
 10

holes, and the danger of sacrificing that, for the

sake of improving tone. This deterred many
persons from adopting it, some continuing the
old system of small holes, while others modified
the improvement, and preferred that which had
holes of medium size. At this period there were,
consequently, three descriptions of flutes in general
use, those having large, small, and medium sized
holes, some of these being tuned to favour the
flat keys, others the sharp keys, while others again
were tuned after a more equal temperament, with
a view to serve tolerably well in all. Thus, al
though these three varieties of flutes were in
common use, no attempt had yet been made to
alter the system of fingering; the fundamental
character of the instrument still remained the
same, only with this exception, that the varying
size of the holes afforded an additional variety of
fingerings in the upper octave, which before had
not been attainable.
The next improvement we have to notice, was
the germ of that present complete re-arrangement
of the flute which has been effected, and resulted
from the sagacity of Captain Gordon, who held a
commission in the Swiss Guards. He turned his
attention to the disposition of the holes, and having
made them of equal size, arranged them over the
 11

instrument at equal distances. His flute was

accordingly well in tune, and the volume of tone
on each note was equalized, as far as such a system
would allow.” He laboured for a considerable time
to mature his improvements; but it was not
until Mr. Boehm suggested a mechanism for
the right-hand part, that his improvement became
in any shape available; so uncertain, however,
was its action even then, that it was ultimately
relinquished as a failure by all parties.
It will be necessary here to digress a short
space, in order to give the reader some idea of
the fundamental difference between this last im
provement in the flute, and the principle of all
former ones, which consisted in these two prime
points: first, an entire change in the system of
fingering; and, secondly, a change from an open
into a shut-keyed instrument: this latter part will
need some explanation.
In the old flute, as we ascend the semitones in
the first octave, each key from F1 upwards, shuts
immediately after we relinquish it; so that, when
we arrive at C#in the third space, the FH,G#, Bb,
and long CH-keys are closed; hence we term this

* I must be understood here by equality of size and distance in

holes, to mean not an actual but a relative equality; not that every
hole is of one equal size and distance from the other, but equally
graduated, to suit the nature and form of the instrument.
 12

a shut-keyed flute. Upon the other system, each

key and hole below the note we sound, remains
open, so that on arriving at C# as before, all the
holes on the instrument are open. At this part
of my subject it would be well to give the reader
some general outline of the construction of the
flute, in order to enable him to comprehend the
several improvements which have recently, from
time to time, been effected.
The compass of the flute lies in three octaves,
consisting of thirty-seven semitones, ranging from
CH on the first ledger line below the stave, to CH
in-altissimo ; the first fourteen of these, are made
by gradually opening the holes, as in playing the
chromatic scale; upon arriving at C# in the third
space, we shall have opened every hole upon the
instrument: now, as the opening of each successive
hole, effects the same end as the gradual shortening
of the organ-pipes, these fourteen semitones are
called the fundamental notes; this must be the
principle upon which all flutes are based, whether
on the shut or open-keyed system;-whether the
same ends be effected by mechanism, or by old or
new systems of fingering, the principle remains
unaltered. From the C# at which we have arrived,
up to its octave, a similar shortening of the tube
is made, and by the very same means, with the
exception only of DH and D #, to which I shall
 13

presently allude, the difference of sound between

the two octaves is obtained simply by an alteration
in the direction, volume, and velocity of the stream
of air propelled; this principle also must hold
good in all flutes. In ascending, lastly, from CH
in-alt, to C H in-altissimo, a somewhat similar
principle obtains, with this exception, that the
shortening of the tube is effected by opening one
or more holes, called vent-holes, which serve the
same end as the regular and gradual opening of
so many holes in succession.
In proceeding to examine DH and D: as I
proposed, there are points in connection with
them, which it would be well here to state. By
first sounding the low CH on the old flute, and
then opening the first hole, the tube will be
shortened to the extent of one semitone, and so
produce C+: again, on sounding the CH, if the BH
hole be opened by raising the second finger of the
left hand, giving this fingering ſooooo slee of
the tube will be shortened to the extent of
twelve semitones or one whole octave, pro
ducing CH in the third space, yielding at the same
time a splendid quality of tone. This opening is
technically called a “node” or “vent-hole.” The
latter term is more suited to such an opening than
the former one, although this has been more com
monly used by writers in a sense not very ap
 14

plicable to its true meaning. By a node is

understood, in a musical sense, that point of
division in a string which decides its length; as,
for example, the bridge of a monochord, but which
seems to have little affinity with the sounds of a
wind instrument, because the sounds produced
from certain divisions of strings, will not bear strict
resemblance to those sounds which will be derived
from a like division of tubes; hence, in order to
produce a similar sound, the point of division in
a tube and in a string will be dissimilar, and con
sequently the term “node,” which is rightly
applied to the one, will be incorrectly applied to
the other. Now, this being the case, in a series
of thirty-seven organ-pipes, where each pipe pro
duces but one sound, how much more will it apply
to the flute, which is constructed to yield thirty
seven semitones with but one tube.
We must now resume our examination of the
vent-holes themselves. First, as regards their ap
plication to the middle octave. If the low C# be
sounded, and the long CH-key be then opened by
another person, the middle C# (in the third space)
will be produced with a similar tone to that of CH
just before mentioned, and for the same reason—
the tube is shortened by this vent-hole to the
extent of a whole octave. Again, let the low D
be sounded, then by simply raising the first finger
 15

of the left-hand, the middle DH (on the fourth

line) is obtained, in the ordinary way, but the
tone of this note will be somewhat inferior to the

other two just mentioned, for reasons which I will

now give. By carrying on the experiment with
one more note, viz. Dž, as we have before seen
that CH, C#, and DH, have each a vent-hole pe
culiar to itself, we shall expect to find the same
provision made for it; but, as the C#-hole is the
highest on the flute, and is the last hole which
we can govern with the fingers, it follows that
there is no vent-hole peculiar to Dž; it will be
seen, therefore, that the C#-hole serves as a vent
for DH and D: ; again, it has already been seen
that this C#-hole is required to produce the last
of the fundamental notes. Again, the position of
this hole is connected with the production of Cq.,

when fingered thus |o • o - - - o |; the same

hole also influences the tone and pitch of the upper
DH and G: in-altissimo, and has, moreover, consi
derable influence on the middle C#, fingered thus
os----|--ol. The reader will now perceive
that a hole, which of necessity is contrived to suit
these numerous purposes, must be so placed as to
agree with all, in a tolerable way, though not
strictly suitable to any; hence the reason why
Dà on the fourth line is weaker, though provided
 16

with its vent-hole, than CH, when fingered thus

|s ooſe ooſe sel. On the Boehm flute, two addi
tional holes, covered by keys, have been added
above the C# hole, which brings the last of the
fundamental notes up to Df; their use is, how
ever, so very limited, and the increase of me
chanism involved is so considerable, as in a great
measure to counteract the advantages gained by
them ; such being the case, even when those ad
ditional holes are only used occasionally, it will
appear evident that if but one fundamental note
above C# were combined with the general system
of fingering, it would involve a mechanism much
too complicated for practical purposes. From these
observations, it will be readily seen that the second
octave might be produced from a series of vent
holes on an ascending principle above the ordinary
holes, had we fingers to govern them; but this
being beyond any practical reach, we are reduced
to the alternative of producing the second octave
by the same fingering as the first, the difference,
as before stated, being made in the manner of
propelling the stream of air. The examination
of vent-holes, as they bear upon the third octave,
will be postponed to a future part of this treatise,
where they will be explained to more advantage.
Having thus far treated of the general con
struction of the flute, we return to a considera
 17

tion of the late improvements effected in it. It

will be remembered that the last reformation of
the instrument was attempted by Captain Gordon;
which, although it laid the foundation of a new
principle, failed in the practical ends for which it
was designed.
The effects of this new principle were subse.
quently attempted to be carried out in a more
practical shape by the late Messrs. Gerock and
Wolf, of Cornhill; with an endeavour also to
preserve the old fingering. In arranging the
holes for the left-hand part, it was found that if
placed in their proper position, the fingers would
be unable to act upon them; to remedy the defect,
an elongated open key was constructed to govern
the AH-hole, with a circular plate upon which the
finger rested. It is worthy of remark, that this
mechanism, constructed by Messrs. Gerock and
Wolf, twenty years since, has lately made its
appearance as a new discovery in a flute which
has recently been brought before the public.
The reader, for the better comprehension of this
part, is furnished with the following diagram of
the key itself.
 18

Several of the flutes alluded to, were at the

time made and sold, one of which I now possess;
this mechanism, though it furnished means for
the improvement of A H, was destructive to the
notes both of CH and C#, with the ordinary
fingering; as regards this latter note, it was pas
sively destructive, because it attempted no removal
of the hole; the C#-hole was placed too low on
the old flute, and the improvement of the AH by
this arrangement, made no attempt to remove that
defect; but as regards CH, the alteration was
positively destructive, because the removal of the
Ah-hole lower down on the instrument, did away
with the necessary vent for the note, when fin
gered thus | O O O | • * * o |. In bringing this

flute under examination, we find the improve

ments extended no further than from the lowest
note upon the instrument, to BH upon the third
line; thus, for example, CH when fingered thus
|o • o • o or thus |o • o o o oſ o
was completely destroyed by the lowering of the
AH-hole. The C# with all the holes open (a .
most important fingering) is considerably too flat,...,
except where it is practicable to raise the long
CH key; but this being unavailable in the majo
rity of passages, we may safely say, that the
 19

fingering under such a system is practically lost,

and falls short, therefore, of that greatest and
most valuable of all modern improvements in the
flute, viz. the production of a good C# in the
third space, and its octave above, with all holes
open. The following passage will exemplify the
value of this fingering:
_--→

The relative defects and improvements which

present themselves in this flute, apply to the
second octave equally with the first, while the
fingering of the upper octave, wandered so far
from the old system, and was, therefore, increased
in difficulty so considerably by cross action, that
the player was constantly driven to employ the
harmonic fingerings: so that it remained doubt
ful whether the advantages afforded in one part
of the instrument were not counterbalanced, if
not superseded, by the defects which appeared in
another.
About the year 1832, Mr. Boehm completed
a system of improvement upon the flute, which
for some time previous he had been constructing;
this instrument resembled the Gordon flute, in
having its holes at equal distance and of equal
 20

size, and being constructed upon the system of

open keys. It was supposed, from this resem
blance, that Mr. Boehm copied his mechanism
from Captain Gordon. The ideas might have
been adopted from him, but the general plan
was so superior, that I conclude we are chiefly
indebted to Mr. Boehm for the first great advance
in the knowledge and construction of the flute
generally. It was brought to England and laid
before the public, who had the opportunity the
following year of hearing the inventor play upon
it, and also of examining its merit; it having
been offered for sale at Gerock and Wolf's, in
Cornhill. . In 1835, Mr. Boehm again visited
London, and again played upon it several times;
but neither on this, nor his previous visit, did his
flute seem to gain the public approbation; since,
during his whole sojourn in this country, he
disposed of but one instrument. The principal
reason for this failure, seemed to be the entire
revolution effected in the old established system
of fingering. In 1837, Mr. Camus introduced
the Boehm flute into Paris, where it received no
better countenance than it had met with in this
country. An improvement of the G# key by
Mr. Dorus, and an additional key for the middle
D# invented by Mr. Coche, brought the flute
more into favour with the public.
 21

In 1841, I became acquainted with the Boehm

flute in its improved state, and found it so superior
to the old eight-keyed instrument, that I adopted
it for my own playing, and introduced it with all
the zeal I thought it deserved. To say that I
considered the flute to be altogether without
fault, would be saying more than I conceived
of it at the period when I was led to adopt
it; but to say that it greatly exceeded the old
eight-keyed flute in the principle of its construc
tion and the effects which it produced, is merely
repeating what I before stated in my School for
that instrument. The chief defects of the Boehm
flute, which were felt by myself and other pro
fessors, who equally lauded its merits, were the
following:—First, an entire change in the old
established fingering, which involved to the stu
dent both patience and application. Secondly,
as Mr. Coche justly observes, the keys (or scales)
which with the old flute were easiest for general
performance, became on the Boehm the most
difficult, and vice versit. Hence, most of the
music by the best composers, which was for the
most part written to accommodate the fingering
of the old flute, became upon the Boehm difficult
to execute; thus producing difficulties which
before did not exist Thirdly, the employment
of “back” fingerings in the first and second
 22

octaves. By back fingerings is meant that cross

action of the fingers, in contradistinction to the
regular and gradual raising of each finger in
succession, in order to produce a given note.
Examples on the Boehm flute are the notes Fit
- and Bb, the former of which, in ascending the
scale of D and such like passages, is produced
by raising the second and first fingers of the
right-hand, and simultaneously putting down the
third, which if not done with extreme nicety,
will cause an intervening sound of GH; and the
latter, in the ascending scale of F and similar
passages, is produced by raising the second finger
of the left, and simultaneously putting down the
first finger of the right-hand, both of which ac
tions are difficult, and demand extreme attention.
Fourthly, the difficulty of passing from CH to
DH in the first octave, and the numerous cross or
back fingerings in the third octave. Fifthly, the
tone, although considered more equal, is not so
brilliant or vibratory as the best notes on the
ordinary flute; this defect lies chiefly in the flute
being constructed on the open instead of the
shut keyed system; this term has been already
defined to the reader, but will be further ex
plained hereafter. Sixthly, the four lowest notes
are feeble in quality, and difficult to be produced
with certainty. Seventhly, the third octave is thin
 23

in quality, and the notes too sharp; and, lastly,

the complication of its mechanism incurs so con
siderable an outlay in its purchase (the lowest
price in this country being eighteen guineas), that
it is virtually placed beyond the reach of the
majority of players.
Soon after I introduced this flute to the public,
I undertook a journey to Munich, to consult with
Mr. Boehm as to the means by which these defects
might be remedied; our interview ended with
an assurance upon his part, that he would do
his utmost to meet my wishes on the subject, and
give me the right of purchase, should I approve
of his alterations. Upon his arrival in England,
some time after, with these completed, I was
grievously disappointed to find he had adopted
the old cylindrical bore, and made the flute of
metal instead of wood. The reader will recollect
the objections which appeared to me to exist in
Mr. Millar's metal flute; and if my judgment
be correct, the same must equally apply to this
alteration of Mr. Boehm's; added to which, I
found an enormously increased complication in
the mechanism, and consequently a considerable
advance in the cost of the instrument. I was,
under these circumstances, reluctantly compelled
to decline its purchase.
The defects which I have said existed in the
 24

Boehm flute were not confined to my observa

tion only; most of the leading professors and
makers of the instrument set to work to en

deavour to correct or remove them by various

experiments. The result has been, that an innu
merable number of flutes have lately been recom
mended to the public by the several improvers
and inventors—a circumstance which has been
detrimental to the advancement of the art itself,
and injurious to the flute professors, while it has
placed the amateur in that state of indecision and
perplexity, which has tended only to retard his
progress, and inspire him with little confidence
in the hope of any ultimate perfection in the
system to be adopted.
It must be distinctly borne in mind by the
reader, that there are certain fixed principles in
the nature of the flute, which no change, inven
tion, or alteration can affect; as, for example, in
the first octave, a corresponding number of holes
must be open to produce a corresponding note,
no matter what mechanism is employed to govern
the holes; hence, in the case of FH, when fingered
upon the old flute, it will be found that there are
five holes open, the last of these being opened by
pressure of the finger on the FH key. On the
Boehm flute, the same number of holes are open
to produce the same note, the last being opened
 25

by raising the second finger of the right-hand :

it will therefore be seen, that the hole which is
governed by the second finger of the right-hand,
corresponds with that one on the old flute, which
is governed by the FH key. Again, if we wish to
produce CH (the first of the fundamental notes),
all the holes on the instrument must be shut;
and if we want the middle C# (the last of the
fundamental notes), all the holes must be open.
1 speak of course here of fundamental fingerings;
that for C# produced thus Io e o Te o e Te o oſ
being exceptional. Such notes as require, in
addition to the above, the closing of one or more
holes below the note sounded, are scarcely to be
called exceptional, but result from the difference
between a shut and open-keyed system, which
will be fully explained further on. These few
examples will suffice, as the same principle ob
tains on all flutes throughout the first and second
Octaves.

Being strongly impressed with those main

principles upon which the flute is based, and
knowing, that however experimentalists may
change or remodel the system of fingering, or
endeavour to reconstruct the flute in its me
chanism, still these fundamental principles must
remain in force; I was induced to give my atten
tion to the matter, and see whether it were not
B
 26

possible to combine the advantages obtained by

the Boehm system, together with a more simple
and easy fingering. I started in my experiments,
keeping in view those broad principles upon
which the instrument is based, and with a desire
if possible to equalize the whole, both as to tone,
tune, and facility of fingering. It had occurred
to me, that many essayists had lately succeeded
in facilitating certain fingerings, but in so doing
had only added to the difficulty of others; and I
was the more impressed with the opinion, that as
the broad principles of the instrument could not
be departed from, so, in order to obtain as perfect
an instrument as possible, a general equality in
each particular, namely, tone, tune, and finger
ing, was indispensable to success.
By general equality, is understood that equal
and mutual assimilation which one part bears to
the other, so that each note shall be equal in
quality of tone, in correctness of tune, and afford
an equal facility of fingering as another. Start
ing then upon these grounds, and feeling assured
that others before me had rather tried to correct
certain defects in the instrument than to improve
the whole, it may be imagined I had no slight
labour and anxiety to contend with.
To reconstruct any piece of mechanical work
which a flute is, and yet not depart from the
 27

general principles of its nature, is a work which

calls for no small degree of patience and skill;
but at the same time it was a great matter to have
these general principles before me, and to adopt
them as the base or ground work of my construc
tion; so that each step I advanced was made
with a degree of confidence that I should not be
compelled to retrace it, or to reconsider any part of
the difficulty I had conquered, in order to make
it subservient to the general end. What I
laboured at obtaining, was the retention of the
advantages of tone and tune as they existed in
the Boehm flute, and the removal of its few defects
in these particulars, joined to a more simple and
easy method of fingering. This latter part more
particularly engaged my thoughts. I had known,
from experience, the inconvenience of a constant
change of fingering in an instrument, and felt
certain that if continued as it was, the flute would
not extend beyond a very small circle of players.
I further considered that the best mode of esta
blishing one uniform and harmonious system of
fingering, was to revert to the old method of the
eight-keyed flute, as it had been known and used
from the earliest period, only if possible to remove
the objectionable parts, and reduce it to a more
systematic form. Hence, I had three objects to
effect; first, to retain the old fingering, to which
 28

most players had been used; secondly, to give

equality of tone in every note; and, thirdly, cor
rectness of tune, so that the instrument could be
played with equal effect in every key. The re
sult of much labour and study, was the completion
of a new flute, which I am now about to offer to
the public, and which I am bold enough to say,
being based upon the principles just stated, has
answered my best expectations. The old finger
ing of the eight-keyed flute (a most important
matter) has been retained throughout. The tone
is as equal and more brilliant than that on the
Boehm flute, and the tune throughout is correct
in every key in music. It remains, having said
thus much, to give some general outline of the
instrument.
First, we will begin by examining the left
hand part. When all the fingers are off, the C#
is perfectly in tune,” and a fine full and clear
note is obtained, because the C#-hole is larger
than on any other flute. In putting down the
second finger of the left hand, the ring over the
hole (which is called the B4-hole) closes at the
same instant a circular open key over the C#-hole,

* The reader must here note that when I speak of perfection of

tune, I mean as near an approximation to it as it is possible to get
on a wind instrument. I have already stated this in my Essay on
the Boehm Flute.
 29

which has the effect of simply reducing the size

of that hole, thereby obtaining the advantage of
two holes in one, the larger one being used for
C# only. The AH-hole I have moved lower down
upon the instrument than it was on the eight
keyed flute, which renders that note perfect. This
hole is governed by a key, in order that the finger
may act upon it without an inconvenient extension.
The reader, upon referring back, will observe that
this key is somewhat similar in principle to that
which was affixed to Messrs. Gerock and Wolf’s
improved flute, but with a much better action.
The key upon that flute was set at a sharp angle,
which rendered it awkward to control; while, on
my flute, it is placed horizontally, whereby a free
action is obtained. As the removal of the AH-hole
to its proper place would be destructive to the
tone of CH when fingered thus |o e o | O O C | O |
as it proved on Gerock and Wolf's flute, I have
added a hole immediately above, which I shall
call the vent-hole for CH ; this, added to the
alteration in position of the C#-hole, secures
a tone for C H in both the first and second
octaves, as good for all practical purposes as
when taken with the long CH-key; even when
taken thus lo e o | O O O | O | in either octave, it

can scarcely be distinguished from the sound pro-.

 30

duced by the CH key; thus the fingerings for

CH on my flute, offer facilities for execution which
can exist on no other. As the existence of the
vent-hole would render the AH too sharp, I have
provided for this by placing an open key on the
hole, communicating with a ring over the C#-hole,
so that when the first finger of the left hand is
down, as in A H, the vent is closed: in the case of
notes such as the middle and upper DH, where
the first finger of the left hand is not down, and
yet it be necessary to close the vent, this is always
secured by the third finger of the left hand being
made to work at all times upon the key which
governs the vent-hole. With respect to the right
hand part, it has also been found necessary to
place the EH-hole much below the position it had
on the old flute, thus placing it beyond the reach
of the third finger. A very old method of ob
viating this, was to place an open key over the
hole, and let it be acted upon by the third finger,
on a plan precisely similar to that employed by
Gerock and Wolf for the AH-hole. This plan,
however, had several defects; it gives a con
strained action to the third or weakest finger of
the right hand; it causes also the F H-key to be
placed at too sharp an angle for facility of execu
tion; it likewise demands an extra length of the
keys on the foot joint, with a greater height than
 31

is convenient at the part where the little finger

acts upon them; the reason for this, is, that the
key over the EH-hole, being open, the ears of the
foot-keys must be raised sufficiently high to pass
over it, and even then they are liable to come in
contact in jointing the flute, causing danger of
straining either one or other. In my own flute, I
have retained the true position of the EH hole,
but have avoided the defects of the key just named.
I have slightly lowered the whole position of the
right hand, so as to bring the third finger to act
upon the EH-hole itself, while the two upper
holes of GH and F# are covered with open keys
and governed by rings which communicate with
the first and second finger. These rings are con
trived so as not to touch the wood of the instru
ment, which avoids all unpleasant noise, and in
. addition, renders the stop of the keys perfectly
certain. All the other keys on my instrument
are the same as on the old eight-keyed flute, ex
cept that they are brought better within reach of
the fingers, and the holes which they cover, are
of the right size and brought into their proper
position. I have obtained these results in the
present flute by another very important alteration.
The bore is of a diameter perfectly new, and is
graduated so as to harmonize with the position
 32

and size of the holes. From the nature of this

bore, three grand results are obtained, which I

have never yet noticed to exist in such perfection
on any other flute; the first of which is, that
facility of obtaining a pure sound with the least
possible effort; the second, is the power of sub
duing the tone to the most minute shade of soft
ness; and the last, chief of all, is that instant
obedience of the note sounded, to the will of the
player. In all flutes I have tried, the note is not
produced on the instant as it should be ; whereas,
in mine, it yields the very moment it is required,
which in all passages, especially rapid ones, is of
the greatest moment.
The reader has now before him a full explana
tion of the system and construction of my flute,
which, as he will judge, from its simplicity and its
freedom from complication, is not liable to any
great derangement; or if, by accident, it should
become disordered in the country or elsewhere,
out of reach of the manufacturer, it can be as
easily repaired as was the old eight-keyed flute.
I now come to a very important subject in my
present treatise, to which I beg the reader's par
ticular attention. I have before referred to the dis
tinctive difference between the open and shut
keyed systems, and given a short definition of
 33

their meaning. Having stated an intention to re

turn again to the subject and explain it further, I
now resume its examination.
As regards the opened-keyed system, by having
a flute with every hole open as we ascend, and
these systematically arranged, the fullest and
most equal tone is supposed to be obtained in the
fundamental notes. A careful examination will,
however, prove that the four lowest notes are not
quite so powerful as the others, nor have they the
volume, brilliancy, and certainty of the corre
sponding notes on a well-made English eight
keyed flute. The reason of this is that the open
keyed system requires the holes on the foot joint
to be higher than their usual position, in order to
suit the temperament. The C# in the third space,
taken with all the fingers off, is feeble, on account
of the number of holes that are open; and if
fingered thus Io e o Too STC SCT, is much too
sharp and feeble, because the the C#-hole and the
lowest hole on the foot joint are much too high
for that fingering. Having treated thus briefly
of the fundamental notes, as connected with the
open-keyed system, we will proceed to examine
the third octave, where the greatest mischief lies;
in doing so, we shall have occasion to revert to the
subject of vent-holes, which in an early part of
this treatise was left unfinished.
 34

The reader will recollect that the third octave

is derived from some one or other of the funda
mental notes, with the addition of each note
having an extra hole open, which we have called
a vent, or vent-hole. On the open-keyed system,
this principle has been attempted to be obtained
throughout, but fails in two most important points;
the one being, that, for some notes, two vent-holes
are unavoidably given from keys opening of their
own accord, while for others there is but one;
and the other cause of failure being that some of
the vent-holes are placed too high. In order to
throw this into a clearer light, let the reader un
derstand that the top D H is vented, as on the old
flute, by the C#-hole; but this hole being placed
so much higher up (in order to render the middle
C# in tune with all the fingers off), the former
note is rendered sharp and feeble. The top D ſt
has but one vent-hole; EH has two, and sometimes
only one; FH has but one; F# has two; G H has
one very large or two small; G # has two, or one
very large and one smaller one, &c. This
plainly proves a radical defect in the upper
octave of this instrument.
It has not been generally considered, as it
ought to be, how important the proper position
and number of vent-holes are to the production
of tone and tune in the upper octave; nor am I
 35

aware that the subject has ever been treated of

before. Many persons have imagined that the
third octave of thc Boehm flute has a gradual
opening for each note, similar to the fundamental
ones; but the instances just given are sufficient
to disprove that notion. Mr. Boehm, amongst
other recent improvers of the flute, seems to have
overlooked this great point, viz. that the position
of the lower holes is of as much importance to
the production of the upper octave as it is to the
production of the fundamental notes; the result
in the Boehm flute has been what I stated, a
serious defect in the upper octave, for which there
is no remedy. The fundamental notes (or first
octave) are equal, excepting the four lowest notes
and the middle C#, already named; the holes are
arranged at equal distance, and each one bears a
relation in size to the other ; but all else has been
sacrificed to obtain this advantage; beyond the
fundamental notes and second octave, little cer
tainty can be placed upon the instrument; the
vent-holes are unequal in number, and some of
them in a wrong position, consequently the notes
in the upper octave are either feeble or out of
tune. This is no new assumption of my own;
the inventor himself, amongst others, having felt
this defect in the instrument, and by seeking to im
prove the system in the introduction of the cylin
 36

drical metal bore, has thereby openly avowed it.

Still the defect of the vent-holes was not removed,
nor, upon the open-keyed system, do I see it pos
sible that it ever can be.
The third octave on the old flute was (in regard
to tune) even inferior to the Boehm, the notes
being much too flat; for there the vent-holes were
one degree or hole lower than those on the Boehm,
and had a like irregularity in number. Hence,
on both flutes the upper octave was defective, and
owing to the same cause—viz. the irregularity in
the vent-holes; these on the one being too high,
and on the other too low.
This conclusion led me to attempt an experi
ment upon a Boehm flute, one of Godfroi's best.
I had an extra set of holes pierced for the third
octave, between the two systems, that is, lower
than the Boehm and higher than the old flute,
which at once gave me a splendid upper octave—
rich, brilliant, clear, well in tune, and easy to pro
duce. I was thus convinced of the truth of my
conjectures regarding the false system of vent
holes in all flutes which have yet appeared; and
I was further confirmed in the idea I had pre
viously conceived of the necessity there was for
but one vent-hole for each note in the upper
octave. Upon this system, the upper octave on
my own flute is arranged; by which I have se
 37

cured as full, clear, brilliant, and easy a succession

of notes as exists in the fundamental ones, and
which can be obtained only by the system of shut
keys.
Some persons labour under the impression that
the shut keys injure the tone in some of the notes
in the lower and middle octave, as they occasion
what is commonly termed a veiling of sound;
such an objection is however, only imaginary, be
cause there is a trifling enlargement for each hole,
where the closing of a key immediately below it
might occasion any veiling; this compensation
completely removes all the injurious effects of a
closed key. It is on the open-keyed system where
veiling becomes mischievous, because no com
pensation of this nature can be made. A few
words here will suffice to render this point clearer.
The grand principle of the open-keyed system
is to preserve every hole open, below the note
sounded, so as to avoid veiling; but this principle
is so far departed from in rapid passages, that it can
be scarcely said to exist. Now, this being the
case, the instrument becomes virtually a shut
keyed one, although constructed upon the open
keyed system, but without any compensation
being made for the closing of holes which are un
avoidable in the execution of brilliant passages;
added to which, even in slow passages, a positive
 38

veiling takes place in two notes, viz. F# and B b :

the former of which has the EH, and the latter
both the F# and the GH-holes closed. This
plainly proves how the open-keyed system prac
tically defeats its own end. An instance of this
will be seen in the following passage:

In playing this on the Boehm flute, the third

finger must remain upon the EH-hole throughout,
in order to give facility; this causes a veiling upon
every note. In the ordinary way of playing this
passage on the shut-keyed flute, the finger will re
main upon the short FH key; by this means we
have none of the notes veiled; and here again the
principle for which the open-keyed flute has been
so much lauded is lost, while upon the shut-keyed
flute it is obtained to perfection. Several other
examples might be adduced, but this one I deem
* sufficient.
Again, a most important advantage is gained
by the shut-keyed system, which is this—that, by
opening certain keys within reach, we have the
choice of obtaining all the effects of the open
keyed flute, where such effects are desirable;
while there is a class of useful fingerings and
charming effects of which the shut-keyed flute is
 39

susceptible, which are not to be obtained on the

other.

I am aware it is possible to make an open

keyed flute so as to avoid any veiling of this kind
(for I have made one myself); but the impossi
bility, in such a case, is to prevent the opening of
more holes than are needed for the production of
the correct sound, thus running to the opposite
extreme of a veiled note, but yet producing an
effect equally bad, by having too much opening,
and at the same time increasing the mechanism to
an inordinate extent. An example of this may be
seen in the preceding succession of notes, which,
if played upon an open-keyed flute with the old
fingering, would have two FH-holes open for
every F#.
The reader will recollect, that in describing
the nature of the old eight-keyed flute, I noticed
the several alterations it had undergone, the holes,
originally small, having been enlarged to the full
extent, and then to a partial extent; hence we
had three descriptions of flutes, even then, in com
mon use, viz. those with small, large, and medium
size holes. These alterations required each a
change or modification of fingering in the third
octave, to suit their peculiar construction; hence
arose a multiplicity of fingerings, which the reader
will find given in all the instruction books of that
period.
 40

A point of improvement I held to be of the

first importance in constructing a flute, was to re
duce so puzzling a series of changes, into one even
solid system. This has not been hitherto done.
Many, who recently have put forth new improve
ments of the flute, have rather prided themselves
in securing a multiplicity of fingerings for each
note; while I deem it a great proof of success to
have reduced this variety to one general uniform
plan, confining myself to one fingering for each
note, which renders my flute equally in tune
throughout every key. At the same time I would
not have the reader suppose that it is confined to
that fingering only; on the contrary, it is sus
ceptible of almost every fingering that was used
on the eight-keyed flute with large holes; while,
from its construction, each hole being unconnected
and in its true position, it admits of an additional
variety of useful fingerings for intricate passages.
Experience has led me, however, to feel the value
of not requiring so constant a change; and as my
flute does not demand it, for the sake of tune, I
have accordingly, for my own playing, confined
myself to one system only, which I would strongly
recommend to all those who wish to adopt the
instrument. An example of this will be seen
in the upper E H, which, when fingered thus
|- - olo - *|o presented a difficulty in pass.
 41

ing to FH ; this in some passages involved the

necessity of a change in the fingering, indeed so
frequently, that Nicholson says, in page 3 of his
Preceptive Lessons, “I invariably finger the upper
22

EH thus • e o |e e o o |.” This is the finger

ing I have selected for the upper E H on my
flute; but the removal of the E and A H-holes
lower down, renders that note well in tune.
Having thus treated generally of the princi
ples and construction of the flute, together with
the subsequent alterations and improvements it
has undergone up to the present time, a few
words will be required from me in explanation of
the course I have taken as regards the adoption
and rejection of the two different systems. This
I deem the more important, since the present
flute, which I am advocating and have adopted,
being the result of my own experiments, and in
all points a construction of my own, most persons
will naturally attribute a greater leaning on my
part to its merits than the instrument may really
deserve. How far its qualities are worthy of
notice, and on what principles they are based, the
reader has had an opportunity of judging in the
perusal of the foregoing treatise. But the point
for me to state here, will be the reasons that in
duced me first to give attention to its construction,
 42

and why, when a few years ago I was found ad

vocating the principles of the Boehm flute, I am
now found arguing in favor of a principle at
variance with it. The reasons that induced my
self and other professors to relinquish the old
eight-keyed flute, are so notorious and so reason
able, that I need scarcely stop to enlarge upon
them. Suffice it, that the defects were such, as to
lead from time to time to several endeavours on
the part of ingenious essayists, to correct or modify
them. It was natural then, that upon the appear
ance of a newly-constructed flute by Mr. Boehm,
which offered considerably greater advantages in
equality of tone and tune, I, in conjunction with
several other professors, adopted it with the
greatest zeal. As the best instrument then
known, my duty, as well as theirs, was at the time
to seek its extension and enlarge upon its ad
vantages; this I did in two works now before the
public; one being an Essay on the Boehm Flute,
and the other a School of Instruction for that
instrument. At the time when I first applied
myself to its study, I was influenced solely as a
flute-player; up to this period I had given no
particular attention to the principles of construc
tion in a flute, but had, like most others, used it
solely for its practical ends. For all playing pur
poses, the Boehm flute was the best, at the time,
 43

that had yet come out, and I strongly re

commended it to my pupils and the public.
The nature of its mechanism, which was inge
nious, first led me to study the principle of the
instrument generally; then it was that the shut
and open-keyed systems, above described, first
attracted my notice; and, by study and reflection,
I was enabled to discover the grand fundamental
laws by which the notes of the flute are regulated,
the connection of the second and third octaves
with the first, and the mode by which they are
derived from it. It was thus I was enabled to
trace a reason for those few imperfections which,
as a player, I had noticed in the instrument; such
as feebleness in the tone of the four lowest notes,
and a sharpness in the upper octave. From a
desire to have these remedied, if possible, I had
several interviews and a long correspondence with
Mr. Boehm; and, shortly after, he endeavoured to
remedy the defects named, by re-arranging the
mechanism and adopting a cylindrical metal bore.
This, so far from being an improvement, I con
sidered a positive objection; the mechanism was
much more complicated than at first, and the evils
of the metal tube and the cylindrical form, being
the same as I have already stated to exist in Mr.
Millar's metal flute, left me no alternative but to
pursue my studies, and seek, if possible, to obtain
 44
a more perfect instrument, which should combine
the advantages already given, without the imper
fections which had hitherto attended them.
To continue to advocate a system which has
been proved erroneous or imperfect, would not be
favourable either to the judgment or honesty of
the individual; but to advocate that system as the
best, until a better shall be discovered, is nothing
more than what is reasonable and just. Thus it
was with the Boehm flute; I saw its advantages,
and used and recommended it; at the same time
I endeavoured to remove its imperfections, by
tracing them back to their true cause. Mr.
Boehm’s failure in the same endeavour has been
already mentioned. Others laboured equally with
myself to obtain the same good end. The results
have not been altogether favourable; a variety of
flutes, with changes of fingering innumerable,
have recently appeared, which have each been
extolled to the public as the best. The chief
distinction between my attempts at reformation
and that of others lies in this particular—that,
while they have sought to remove defects, they
have carefully retained the system which gave
them birth; while I have sought to eradicate the
evil, by first removing the cause which produced
it. I say this in allusion to the shut and open
keyed systems, which have been separately ex
 45

plained further back; and the conclusion I have

drawn at the end of my labours is—that no other
system than the shut-keyed can ever ultimately
succeed, while any attempt to improve the open
keyed, must end in disappointment and failure.
The success I achieved in retaining the old
fingering of the eight-keyed flute, is not the least
important of the many advantages which my
instrument possesses. This point has engaged
the deepest attention of every recent improver of
the flute; amongst whom we may mention Mr.
Boehm himself, who deemed it so important, that
for a considerable time he laboured allin his power
to effect it. The following extract from a letter,
dated Munich, March 1843, says as much. “The
first model I made at my friend Mr. Wolf's, in
1831, proves that I wanted to preserve as many
notes in the old way of fingering as seemed
feasible.” -

To say that I offer to the public a perfect flute

in my recent invention, would be saying more.
than the flute is capable of being made. No flute
is perfect, nor can be ; the principle by which we
obtain the sounds of thirty-seven pipes, varying
in length and size, from one single tube, precludes
the possibility of perfection. Nor do I say that
my flute is arranged in consonance with strict
acoustical principles; because I am confident so
 46

imperfect an instrument as the flute, never can be.

It is easy enough to show how the vibrations and
the waves of air in the flute are governed by the
laws and principles of acoustics, and to the unin
itiated ear it smacks in some degree of learning;
but it is quite absurd to say that an instrument,
which with one tube has to produce thirty-seven
different sounds, and one hole of which (the C#-
hole), I have proved to be connected with the pro
duction of so many different notes, can be con
structed on true acoustical principles. The flute, .
by such attempts at refinement, has been lowered
to an extent unworthy of it, while no beneficial
end has been gained. Mr. Boehm, who for years
devoted himself to the study of acoustical laws as
connected with the flute, despaired of being able
to regulate the instrument by these laws; the
result of his experiments, he says, in a letter to me,
dated January, 1847, is this—“that though he
sees clearly by the laws of nature why one note
or another will not come out freely or in tune,
why the octaves are here too flat, here too sharp,
&c.; he also sees clearly, what Savart twelve
years before had told him at Paris—that it is im
possible to make a perfect flute.”
All modern flutes seem to have been modelled
especially to facilitate the skill which is requisite
to produce a good tone and to preserve the tune,
 47

by rendering these points as easy as possible; this

! is a movement in the right direction; at the same
time, all amateurs should clearly understand, that
it would be utterly impossible to make a flute
which would free them from the exercise of their
ears and flexibility of lip. The flute is not an
instrument of fixed tones, like the pianoforte, but,
on the contrary, is susceptible of the most minute
shades of sound; while it also admits of being
sharpened or flattened by the direction, force,
and volume of air, even to the extent of a semi
tone; but these gradations of sound depend
solely upon the volition of the performer. In
, more than one instance I have known the recent
inventors of flutes to insinuate (unwisely I think)
that their instruments would ensure correct into
nation to any player; indeed, some have gone so
far as to induce a belief that the enharmonic
changes, or quarter tones, were all provided for
with separate fingerings, and have supported
their assertions by an eloquent discourse upon
acoustics. I would most earnestly advise all
amateurs to dismiss such ideas from their imagi
nation, and never lose sight of this simple truth—
that, however perfectly a flute may be constructed,
its very nature, as above stated, proves that it
- requires a correct ear to play it in tune. All
flautists must be sensible that in order to play
 48

any flute correctly, there must be flexibility of

lip, so as to alter quickly and readily, the force,
direction, and volume of air for the different
octaves, as well as for the pianos and fortes;
now, as this constant change is of momentary
occurrence, there can be no difficulty whatever
experienced in making all the difference that is
necessary (as by intuition) between Gb and F#,
&c. &c., provided the performer has a good ear;
but if his ear be not good, all the works on
acoustics that ever were written, will be to him
of no practical service. We require but two
points so far as tune is concerned; viz., to have a
flute properly constructed by the maker, and then
to have it played properly in tune by the player.
By these two essential requisites, I wish to test ||
the merits of my flute; as regards the first point,
it is as perfect in its tune as any wind instrument
can be; and as regards the latter, it only requires
to be played on with ordinary skill, to elicit the
principles on which it is based; less skill indeed,
than is demanded for any other flute I have ever
heard.
A serious objection to the whole range of |
modern flutes, is their enormous price; this,
although a minor consideration with some per
sons, becomes a positive hindrance to others who
may wish to obtain them. The lowest price of
 49

flutes on the open-keyed system, is in this country,

: eighteen guineas, while they range from that
a price, up to forty guineas; the nature of the me
chanism is such, as to render it impossible they
can ever be much reduced in cost. This at first
• may appear a trifling point of objection; but,
being acquainted with many young persons, who,
# playing a little, have longed to obtain an instru
ment, but have been prevented by its price, and
who ultimately have been obliged to use a bad
substitute, or, in despair, to relinquish the flute
altogether; and knowing, further, how many
young persons have been deterred from com
gmencing a study of the instrument, and have
a taken to some other in consequence of the price
being beyond their reach, I do not exceed what
is just when I say, that to the great majority of
players, the price of an instrument is a point of
the first moment. This desideratum I have
also been enabled to carry out according to my
wishes—the mechanism of my flute being so
simple, that its price does not exceed that of
the old eight-keyed flute. It is thus placed
within the reach of all persons who may be de
sirous of learning; and so satisfied am I with
, the importance of obtaining this result, that I
say it with the fullest conviction, had not I
or some other person brought down the flute to
C
 50

its original price, it would before long become

confined to a very small class of players. Ano
ther serious objection connected with the use
of these instruments is, that they are con
stantly getting out of order, thereby causing the
possessor vexation, loss of time, and expence of .
repairs; for this there is no help, as all open- -
keyed systems must be equally liable to derange
ment; so that, in addition to the first cost of the
instrument, we have, as it were, to pay a tax for a
the use of it.
My newly constructed flute has been con
fided to the hands of Mr. Potter, of Bridge Street, 's
Westminster, who is now rapidly advancing in its
manufacture, and by the time this is in the press, tº
it will be before the public, to whose judgment I",
leave the fair and just comparison of its merits, º
along with my statements as above given. The
solidity and finish of its workmanship I believe ,
not to be surpassed by any that the public has yet
seen, and I take this opportunity of recording my
thanks to Mr. Potter for the zeal and ability he
has shown in carrying out the invention which I,
entrusted to him. |

In conclusion, I would say one word to pro

fessors of the flute, who for some years back have ſt
been constantly changing from one description of:
instrument to another, and who in their private
 N
51

teaching, aswell as by their public example, have

led a host of amateurs after them. It is neither
their interest, nor can it tend to the advancement
of the instrument itself, that these frequent
changes should be kept up, which can only con
fuse and weary the amateur; for, although we
may succeed in effecting an improvement in the
fingering of one or more passages, it can only be
done at the expense of some others; and thus in
avoiding Scylla, we run in greater danger of
Charybdis.
An object to be sought for in every instru
ment, is one established system of fingering;
but so long as these cross purposes are carried
out, so long must we expect a want of harmony
and unity amongst those who have made the
study of this instrument their profession, and con
sequently a disinclination amongst amateurs to
learn it. I say this in the best spirit; for certain
I am, the result of these differences, if continued,
will be the annihilation of the flute altogether.
And to the amateur, I would respectfully sug
gest the importance of making himself fully
acquainted with the true nature of that system
: which he is invited to adopt, before he enters
* upon its study; to examine carefully the system
of fingering employed, and to see that in the
fundamental notes, or first fourteen semitones, it
does not differ from that of the old eight-keyed
flute. If in the smallest point the fundamental
fingering be changed, it will extend itself in a
largermeasure throughout the whole instrument
and cause unavoidable difficulty in the executio
of passages, especially in the third octave, whic
the student will not discover until after som
experience in playing; let me entreat him not t
be misled by the simplification of fingering i
any one or more given notes, where it is possib
there may be a corresponding difficulty in others
to ascertain that it does not require duplicat
holes or keys, which is a sure indication of a di
fective system; to be careful that the mechanis
be free from the employment of clutches, or simil
contrivances, which must constantly cause d
rangement; in short, to divest himself of
undue preference or prejudice, which mig
fetter his better judgment; and by the judicic
selection of an instrument, secure for himself, t
source of a delightful amusement, and thus
rescued from present difficulty and from fut
regret.

Finis.

14, Greek Street, Soho Squa,

London.