Assembly
Don't feel it necessary to arrange the embouchure hole and the tone holes in a straight line when you assemble the flute. Experiment to see what works best for you. Both Quantz (1752) and Devienne (c. 1792) tell us not to align the holes. Instead, they recommend that the head joint be turned inward so that the outer edge of the embouchure hole is in line with an imaginary line drawn down the center of the finger holes (see illustrations below by Tulou, 1853). This in effect allows the tone holes to be turned out, making it somewhat easier for the left hand to cover the open tone holes.
Rotate the head joint in slightly
If the flute is of the four-piece variety, you may align the tone holes, or you may choose to turn the lower-middle joint in toward your right hand. This position may benefit the hand position of the right hand. The foot joint should be rotated into a position that allows the little finger to easily reach the key.
Rotate the lower-middle joint and the foot joint
ON HOLDING THE FLUTE
One must, by all means, observe not to make grimaces or to have ridiculous posture. The flute, being a noble instrument, is to be played in an agreeable manner.
Corrette (c. 1734, p. 26)
The modern Boehm-system flute and one-keyed flute differ in ways that affect how the one-keyed flute feels under the fingers. (1) First, the spacing of the tone holes is different. The tone holes of both the modern flute and the one-keyed flute are placed to allow for the best possible intonation. However, the one-keyed flute does not have sophisticated key work designed to accommodate the fingers as does the modern flute. The result is that the fingers must reach farther to cover some of the open holes. A beginning player is often frustrated while learning where the holes are under the fingers. (2) The thumb of the left hand has a different function. It must remain free on the modern flute to operate the b-keys. However, because there are no thumb-keys on the one-keyed flute, one may choose to hold the flute firmly with the thumb and first finger of the left hand, which forms a point of equilibrium. (3) The e-flat key is depressed for nearly all notes on the modern flute. Since it is depressed only occasionally on the one-keyed flute, the player's sense of balance in holding the instrument may be affected.
Physical Problems
A word about care of the hands. Sadly, we all too frequently hear of musicians whose hands cease working properly for them—they encounter physical problems that create pain and dysfunction. You should know that some of these injured musicians report that the trouble started when they moved to a different or new instrument, therefore giving the muscular system something new to deal with. I broach this fearful subject as a way of cautioning you to begin the one-keyed flute, new to you and to your muscular system, slowly and with care. You will thank yourself later if you take the time in the first several weeks to develop a relaxed physical approach to finger placement.
Since the tone holes of the one-keyed flute are farther apart than on modern flute, the fingers are required to achieve a broader stretch to cover the open holes. Avoid tensing the hands. Think instead of flopping the hand onto the flute and letting the fingers spread in a passive way to reach the holes. Try not to stretch the fingers laterally. Don't feel it necessary to hold the fingers directly over their designated holes when the holes are not in use; allow the hand to relax when the fingers are resting above the flute. Most of all, don't do anything that results in pain.
Left Hand
Lay the flute on the first (index) finger of the left hand so that it rests on the knuckle of the lowest joint. The index finger and the thumb support the flute. The first three fingers of the left hand cover tone holes 1, 2, and 3. The first and second fingers will be curved and the third a bit straighter. The little finger should not rest on the flute.
Right Hand
The right thumb is placed under the fourth tone hole or a little farther down the flute. The thumb should be set in the same place each time to ensure the proper position of the right fingers over their holes.
The first three fingers of the right hand cover tone holes 4, 5, and 6. Let the tips of the fingers of the right hand flop over the flute somewhat in a hand position you would consider incorrect on the modern flute; you will find that you can cover the holes more easily at a point closer to the first joint. One eighteenth-century flutist (Miller, c. 1799, p. 2) recommends covering the holes about an inch from the tip end of the finger, adding, “I never knew a Performer [to] have brilliant execution who covered the holes of the right hand with the tip ends of his fingers.” An inch seems excessive to me, but experiment to see what is right for you.
Keep the little finger of the right hand relaxed and don't rest it on the flute when this finger is not in use. There is no need to keep the little finger extended in a ready-position to depress the key—such a position can only lead to physical problems. Some eighteenth-century flutists have dispensed bad advice regarding the placement of the little finger. Hotteterre (1707, p. 36) says that it should be “placed on the flute between the 6th hole and the molding of the foot.” Corrette (c. 1734, p. 25) claims that the little finger is “well extended so that it will always be ready to press down the key.” My advice is to ignore the advice of Hotteterre and Corrette. Keeping the hand healthy is a top priority.
checklist
Now that the fingers are in place, use this Checklist as a guide to using the fingers properly once they are set into motion.
An Interesting Side Line
Michel Blavet (1700–1768) was one flutist who actually played the flute left handed; that is, he held the flute to the left, using the right hand to cover the holes nearest the embouchure hole. Try this for fun! It was not, however, a recommended style, even in the eighteenth century. Hotteterre (1707, p. 38) writes:
There are others who…hold the flute to the left. I will not absolutely condemn this position of the hands, since you can play as well in this way as in the other, and there would be difficulties in trying to change it. But those who have not yet contracted this bad habit must take care not to fall into it.
ON TONE
And as that Instrument is allowed to be the finest which approaches nearest to the human Voice, the German Flute, from its sweetness and delicacy of Tone, undoubtedly