Klarinet Archive - Posting 000309.txt from 2010/10

From: K S <krsmav@-----.com>
Subj: Re: [kl] 435-- Haynes flutes-- 435?
Date: Sat, 30 Oct 2010 09:39:53 -0400

Theobald Bohem calculated the acoustically proper placement for the
tone holes, and his work became the standard for all makers. However,
his calculations were based on A-435. The finest 19th century makers
were Louis Lot and Auguste Bonneville, who also used A-435. Lot
flutes in particular were used by major players, including Moyse and
Rampal, who preferred their sound to that of the best modern makers.

Flute intonation can be modified by breath pressure, embouchure and
rolling the instrument in and out -- much more so than with the
clarinet. A flute at 435 can play pretty well at 440 by shortening
the head joint, and until 1970, all makers, including Haynes, makers
made their instruments to Boehm's A-435. They used a long socket
sleeve at the top of the body and a relatively short head joint (so
that the head joint could be pulled out of you needed to play at 435)
plus a slight repositioning of the hole for the left index finger key
to make them work at A-440. When I studied flute in 1959, my teacher
told me that to play in tune, even on a Haynes, each note had its own
embouchure, and that I needed to roll the flute in at the top of each
register and in at the top.

In the 1960s, Albert Cooper recalculated Boehm's measurements,
adjusting the hole positions at a ratio of 435:440. Powell introduced
a Cooper Scale model in the early 1970s, and it revolutionized the
flute world. Instead of varying your embouchure for each note,
rolling the instrument out and blowing hard, you could blow the same
way all the time and be in tune. All makers have adopted some version
of this work as their default design.

For more, see http://www.landellflutes.com/gallery/flute-features/ and
http://www.larrykrantz.com/rdick2.htm

Ken Shaw
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