is the eighteenth-century one-keyed flute. A growing number of flutists are purchasing modern replicas and learning to play them.
Not long ago the one-keyed flute was considered an inadequate predecessor of the modern flute. In 1966 René LeRoy (p. 14) described the eighteenth-century flute as a “very imperfect instrument.” The writer of a doctoral essay at Eastman said that the one-keyed flute's inferior pitch quality and inferior tone quality were natural and unavoidable flaws in the instrument (Hartman, 1961, p. 16). Generally, flutists had no desire to learn to play this simple one-keyed instrument when a “perfected” flute was available to them.
However, attitudes have changed during the past thirty to forty years. Concerts and professional recordings featuring historic flutes are no longer rarities. Workshops specializing in the manufacture of historical flutes and music publishers specializing in scholarly editions of early music support these performance activities.
Flutists who experiment with the one-keyed flute find that it is indeed an instrument of merit. Innate in the simplicity of its structure are unique expressive qualities not inherent in the modern Boehm-system flute.
This method book is written for players of the Boehm-system flute who are already familiar with tone production and modern flute technique: it is designed to help with the flutist's initial approach to the one-keyed flute. The Method can serve as a self-guiding tutor or as a text when the flutist is working with a teacher. It is not intended to be a musicological treatise, but a practical and useful guide which cites historical sources. These historical sources offer a broad diversity of opinions which challenge us to explore the ideas of eighteenth-century writers and incorporate them into our present-day experience.
The Method addresses such topics as choosing a flute and assembling the instrument, to more advanced concepts such as tone color and eighteenth-century articulation patterns. Discussions of tone, intonation, and tonality will help guide the student in exploring the expressive nature of the instrument. Fingering charts, exercises, and eighteenth-century tunes will help the student get started. To encourage the reader to explore primary historical sources, the “Top 13” eighteenth-century flute tutors are reviewed with reference given to present-day facsimile editions and translations. Those new to the one-keyed flute will be helped by the annotated repertoire list of easy solos, duets, and studies. The annotated bibliography references both historical and modern sources.
Many texts on eighteenth-century technique and style are currently available, both as primary sources (from eighteenth-century authors) and secondary sources (in this case, twentieth-century writings regarding eighteenth-century performance style). The scope of this book does not allow for any more than a mention of some of the more important techniques and performance styles. Textbooks and articles by leading scholars are referenced throughout the text and included in the annotated bibliography to encourage the reader to become familiar with these important sources.
Your reasons for exploring the one-keyed flute may range from mere curiosity to a desire to master the instrument for the purposes of public performance. Even if you wish only to experiment with the one-keyed flute, doing so will give you important insights that you will find useful for modern, Boehm-system flute performances.
EDITORIAL CONVENTIONS
To avoid extensive footnotes, publication date (and page numbers where there are quotations) of the sources referenced are given in parentheses within the text following the author's name. Complete bibliographic entries are found in the annotated bibliography.
In quoting foreign language sources, references are made to available English translations. For example, page numbers for quotes of the Quantz tutor refer to the Reilly translation listed in the bibliography.
The exercises and tunes in Chapter Four come from eighteenth- and nineteenth-century flute tutors and collections. The exercises or tunes credit the composer (where known), the author (in the case of a treatise which has not identified the composer of its tunes), or the title of a collection. Edited slurs are shown by means of a dashed slur. Breath mark indications are mine, with the exception of the little duet in e minor by Blavet, who frequently indicated his own breaths. Trills very often begin from the note above the principal note—there are exceptions. The performance suggestions for the tunes in this Method are based on the instruction given in the tutor from which the tune was taken.
I have used the letters d'-b' for notes of the first octave, c"-b" for the second octave, and c'"-a'" for the third octave.
I have used the capital letter when describing a particular major key, such as G major, and a lower case letter when describing a minor key, such as e minor.
To simplify the layout, fingerings in Chapter Four are given using a simple number system instead of the graphics found on the charts. For example, g' is designated 1 2 3/---.
ACKNOWLEDGMENTS
My deepest gratitude
To Amy Boland, Joyce Bryant, Betsy Colvin, Betsy Cuffel, Andrew Cox, David Dahl, John Dowdall, Christopher Krueger, Betty Bang Mather, Roger Mather, Judy Moore, Ardal Powell, Jama Stilwell, Teresa Texeira, John Thow, and Richard M. Wilson for advice offered after reading the text, in full or in part. To Richard M. Wilson and Christopher Krueger for guidance in writing the chapter on intonation. I take responsibility for all the errors and omissions which remain.
To flute-maker Friedrich von Huene for permission to reprint his excellent drawings of original instruments.
To Stephen Preston for information, insights, and inspiration given at annual baroque flute master classes at the Wildacres Flute Symposium since 1985.
To Barbara Kallaur for repertoire ideas.
To Betty Rogers, Linda Bloedel, Harlene Hansen, and Richard Doyle at Stewart Memorial Library at Coe College for assistance with interlibrary loan materials. To The University of Iowa Libraries for making their materials available. To David Lasocki at Indiana University for answering many reference questions.
To the Iowa Arts Council and the National Endowment for the Arts for a Creative Artist's Grant to assist in readying the book for the publisher.
To McGinnis & Marx Music Publishers for permission to reprint my survey of eighteenth-century tutors from Fluting and Dancing: Articles and Reminiscences for Betty Bang Mather on her 65th Birthday (New York: McGinnis & Marx, 1992).
To John Dowdall and Elsie Kleese, my ardent supporters in whatever I strive to do.
And most of all, to Betty Bang Mather, my mentor and friend, who has given me a wealth of instruction, advice, and encouragement. Her pioneering work with the one-keyed flute, her patient, masterful teaching, her exemplary musicianship, and her many contributions to the scholarly world have been my inspiration.
Marion, Iowa
J.D.B.
December 1997
CHAPTER I
ABOUT THE ONE-KEYED FLUTE
Illustration from Johann Phillip Eisel, Musicus autodidaktos. Erfurt: Johann Michael Funcken, 1738
ON THE FLUTE
A
