I have been running accross a lot of single key flutes in my search for a new old flute. Most of the barouque flutes I have seen are set up this way but there seems to be tons of them from say the pre 1850 time span. Can someone enlighten me as to why the single key and what does it add to the flute as a hole. (oops no pun inteded) oh that should have been whole. Now there is no pun. Oh well. I am looking at a couple of these single key flutes as a next flute and that is why I am courious. I am happy as a clam with my two old 8 key flutes, D and Eb and have had my way with a tune cannon which is now in the hands of someone who will love it more than I could so I am continuing my walk through flute time. The older the better I always say. Loud is not always what its cracked up to be. Expression is what I`m after as well as the sound of wood. The two I am looking at are both boxwood 1840 ish single and 4 key set ups.
Maybe there is a web site with that kind of info. Any help out there?
The single key is used to do the D#/Eb note (obviously) but also to give an extra “push” up to the notes that normally sound flat in these flutes. For example, you open the key when you play F# (a flat note) but not when you play F-nat (a sharp note). Some high notes, for example, the third octave c and d, also need the key.
As far as how they sound, there have been 2 entries in “Clips & Snips” recently with this kind of flute: Lord Inchiquin and Greensleeves, both in the “flute” page: http://www.tinwhistletunes.com/clipssnip/flute.html
Very well explained Glauber!
Tom,if tonal expression rather than volume is your thing,then a one key may be right up your street.The key,as well as stablising certain notes,so you perhaps don’t need to ‘lip’ notes into tune as much,means that you can ‘shade’ notes with a great deal of variation (not that my rather ‘flat’ clip would suggest this! LOL).
You could do no worse that listen to some of the virtuoso practitioners of the Traverso, such as Jed Wentz,Wilbert Hazelzet,Barthold Kuijken,Rachel Brown and Chris Norman (who uses one for Celtic derived music,from time to time)et al,to get an idea of the great tonal palette available with these instruments that were seen as ‘obsolescent’ for so long prior to the re-discovery of ‘pre-classical’ music and the ‘Authentic Baroque’ movement.
Thanks for the info glauber and kevin. I will check out some of those players you mentioned. Right now I am experiencing the butterfly syndrome. I just got an email from the gentleman that has the two flutes I am thinking about buying. He said he would send me both to try out and decide wheather or not I want to buy one. One is a Firth Hall & Pond single key boxwood and the other is a de Peloubet 4 key in boxwood. I havent been able to find any info on de Peloubet other then his address back in the early 19th century. Anyway Im off to find some of the players you mentioned Kevin.
