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If d' is sharp…and d'" is flat,
correct by pushing the cork in
toward the embouchure hole.
The cork must also be adjusted if the player chooses to use a longer or shorter upper-middle joint. (See Corps de réchange on page 9.) Lengthening or shortening the flute in this way disturbs the correct proportions of the instrument and the intonation suffers.2 To remedy this problem, the cork is pushed in toward the embouchure hole when a long upper joint is used and drawn back when a short upper joint is used. The cork can be moved by using the same half-inch dowel rod you used to measure the cork placement.
The Screw Cap
Some flutes are fashioned with a screw attached to the cork. The screw cap is a simple mechanism for adjusting the position of the cork and is especially useful when changing middle joints. The player simply turns the end cap to draw the cork out. The following illustration of a Quantz head joint (Reilly translation of Quantz, Versuch, 1985) shows the cork with a screw attached.
The Screw Cap
The Foot Register
Some flutes may have a foot register, which is a telescoping, adjustable foot joint useful for making adjustments in tuning when changing middle joints. The foot joint is made a little shorter for each shorter middle piece (corps de réchange). Some makers of modern replicas offer the foot register as an option. Quantz (1752) was among those eighteenth-century flutists who strongly opposed the use of the foot register because, in his opinion, it throws the flute out of tune.
Flute with a Foot Register
ON PITCH
Pitch was not standardized in the eighteenth century. It varied greatly from country to country, from city to city, and even within the same city. We find evidence that flutists were required to play at every imaginable pitch standard from very low (A-c.392 and lower) to very high (A-440 and higher).
Quantz's (1752) personal preference was for lower-pitched flutes, which he found to be more pleasing, moving, and majestic; he found higher-pitched instruments to be more penetrating.
Modern Replicas
A-415 has been adopted as a useful compromise for today's performers of most baroque music. Modern replicas of one-keyed flutes are most commonly, but not exclusively, made at A-415.
A-415 flute
Modern replicas may also be pitched a whole step low (A-c.392) or lower. “French chamber pitch,” as this is sometimes called, is appropriate for the music of early eighteenth-century French composers and the music of J. S. Bach, and was the preference of Frederick the Great.
A-c.392 flute
Some twentieth-century flute makers will make a modern replica at A-440, referred to as “modern pitch,” to accommodate players who are working with other musicians using this pitch standard.
A-440 flute
The one-keyed flute is used today in several professional orchestras which specialize in the use of period instruments. Baroque orchestras usually require the use of flutes tuned at A-415. However, Classical orchestras have established a higher pitch as a basis for tuning and require a one-keyed flute (or more keys for later Classical repertoire) tuned at A-430 or even higher.
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
