Corps de réchange
It would of course have been impractical for eighteenth-century flutists to own many instruments, each built to a different pitch. The more practical solution to the need for flexibility to play at varying pitch standards was in place by about 1720. According to Quantz (1752) flute makers began to make anywhere from two to six or more upper-middle joints of varying lengths.3 The French call these interchangeable joints corps de réchange.
The use of longer corps de réchange lowers the pitch, and the use of shorter corps de réchang e raises the pitch, allowing the flutist to play at different pitch standards.
Flute with two corps de réchange
Some makers of modern replicas make a flute with two or more corps de réchange. For instance, one may be tuned at A-415 and one at A-392. This way the flutist can own one instrument, yet has the ability to play at two pitch standards. An adjustment of the cork is necessary when changing joints. When playing at A-415 the player uses the shorter corps de réchange and draws the cork away from the embouchure hole.
Move the cork away from the embouchure hole
when playing at A-415
When playing at A-392, the player uses the longer corps de réchange and pushes the cork in toward the blow hole.
Draw the cork in toward the embouchure hole
when playing at A-392
Be aware that it is very difficult to design a one-keyed flute with two or more corps de réchange (and therefore two or more pitches) that plays equally well “in tune” at various lengths and pitches. Most often, one pitch has been favored, and the flute will simply play best in tune at that pitch. Discuss this concept with your flute maker to see how he or she has handled the problem.
ON CHOOSING A FLUTE
A good instrument that is tuned truly reduces the task of playing by half
Quantz (1752, p. 51)
Today's players of one-keyed flutes can choose from among high-quality modern replicas made by craftsmen around the world, including the United States, Canada, Australia, Europe, South America, Russia, and Japan. Replicas are usually copies of specific historic flutes from the eighteenth century. And of course a few fine antique instruments are available on the market as well.
There are many decisions to be made when selecting a flute. Ask for assistance from a professional player. Also seek the guidance of flute makers who know by the orders they fill which flutes are most in demand. Look for a flute with good workmanship, with the tone color you desire, designed in a style to suit the music you will play, and that plays well in tune and is pitched according to your needs.
Three important decisions you will need to make are (1) the pitch of the flute, (2) the style of the flute, and (3) the type of wood used in its construction.
Pitch
Determine what pitch you would like the flute to be. The common standard today for most baroque music is A-415. Choose a pitch that allows you to play with colleagues and friends. Does your harpsichordist normally tune the instrument to A-415? Is there another flutist with whom you wish to perform? What pitch is his or her flute? The tone of the flute is markedly different at different pitches. A higher-pitched flute is more brilliant and penetrating; a lower-pitched flute is softer and more mellow.
Style
You may wish to match the instrument to the music you will play or to the circumstances in which you will play. Will you do orchestral playing? Or will you find yourself more often in intimate chamber music settings? While some replicas can be used for a variety of music, others are more specialized or suited to a smaller range of styles. A flute designed for the music of Hotteterre won't be suitable for late eighteenth-century Mozart. Ask your flute maker for advice. Some popular reproductions today are modeled after instruments by Hotteterre (French maker, after Graz original c.1700), Denner (Nuremberg maker, after original played by Hünteler, early eighteenth century), Bressan (London maker, pre-1730), Rottenburgh (Brussels maker, after original in the Kuijken collection, c. 1770), and August Grenser (Dresden maker, second half of the eighteenth century).
Woods
You may be asked what type of wood you prefer. Today's replicas are commonly made of boxwood, ebony, cocus wood, rosewood, or grenadilla. Grenadilla is the most dense and rosewood the least dense. The type of wood used in flute construction affects its tone quality, although modern makers tell me that the shape of the bore and cut of the tone and embouchure holes have a much more profound effect on the tone than the choice of wood. Try several and see which you prefer. A popular “beginning model” by Aulos of Japan is made of plastic. Because of international laws governing the sale of ivory, few replicas are made of ivory or have ivory trim.
Used Flutes
Don't shy away from purchasing a used instrument. According to Quantz (1752, p. 51), “Generally a good and accurately tuned flute that has been frequently played is always preferable to a new one.”
ON CARE
Now if you have such a flute…spare no effort to maintain it so that it cannot be spoiled.
Tromlitz (1791, p. 40)
The one-keyed flute has its own unique set of requirements for proper care. Many fine flutes from the eighteenth century have survived, evidence that with proper care, a flute can last for centuries. I am indebted to flute-makers Roderick Cameron and Ardal Powell for much of the following information on flute care.
Checklist
