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Re: [earlyflute] Flute drawings list

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  • Philippe Allain-Dupré
    ... De : Jean-Francois Beaudin À : earlyflute@yahoogroups.com Cc : woodenflute@woodenflute.com
    Message 1 of 2 , Dec 1, 2001
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      -----Message d'origine-----
      De : Jean-Francois Beaudin <jfbeaudin@...>
      À : earlyflute@yahoogroups.com <earlyflute@yahoogroups.com>
      Cc : woodenflute@... <woodenflute@...>
      Date : vendredi 30 novembre 2001 21:09
      Objet : [earlyflute] Flute drawings list

      1.. Rottenburgh G.A. *415, 410Hz, boxwood, (very good sound and tuning).
      Coll, B. Kuijken.

      Dear Jean-François

      Thanks again to remind us the great amount of work you have done for the
      baroque flute makers. Even if I have taken measurements myself, I like to
      work with your plans so precisely drawn.

      With your objective data, your are writing here a subjective commentary
      about the famous Rottenburgh owned by Bart Kuijken, which is the most copied
      XVIIIth century flute.

      So let me add my own commentary, after having played and copied this flute
      several times (and given up)

      "Pretty tiny rococo sound, tuning unbearable"

      The embouchure is quite nice and allows many colours of tone, but the rather
      narrow bore, the position and narrowness of holes, the shrinkage of some
      parts of the flute doesn't make a "very good sound", specially in the first
      octave where e, f and gsharp are too weak.

      The tuning : the first octave is too sharp compared to the second, specially
      on A and B, where the octaves are too short. That's the contrary of what
      Quantz expects on a flute . The keyhole is too big, giving an Eflat but no
      Dsharp. The E hole is very small, giving a very weak note. The other holes
      are very much undercutted, so the fork fingerings are too sharp, specially F
      natural and G sharp, and in a lesser way Bflat and Cnatural.

      In the second octave, G tends to be sharp, A and B are very flat.

      High Eflat and E are much too high, high F bad and low, which is not what
      someone would expect on a rococo, almost classical, flute.

      This was my contribution to the recent debate about the tuning of the flute,
      which I consider from a psychological rather than a
      technical-tuning-machine point of view.

      Philippe Allain-Dupré
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