Presentation of flute plans

           

These hand-made early flute technical drawings are the result of incalculable hours of work in Museums and private collections, starting in 1979.

The method applied is from my regretted teacher, the Australian recorder-maker Frederic Morgan. ( See the drawings of the Frans Bruggen’s recorder collection published by Zen-On , Japan).

Each flute is represented full size as it came and ideally all the informations are condense on one sheet of 8½ / 14 inches ( 215 / 355mm). I try as much as possible to provide to these drawings the personal touch of the maker. Dimensions are taken in millimetres with a calliper.

The bore is measure with a telescopic gauge on every variation of 0.1mm finding the further position from the beginning of the larger side of each joint. Sometime, when the bore is warp and oval, the maximum and minimum measures were taken.

The shape of the holes undercut (embouchure and fingers) are show by drawing the inner shape of the chimney . A white paper was insert in the bore for the light reflection. Four points of the hole circle are given, north ,south, east and west. The dimensions of the lower part of the chimney are taken by printing the shape with moulding paste on a stick.

The pitch is taken in Hertz on A and the tuning, in Cents from equal temperament with an electronic tuner. When necessary, I also give the fingerings.

Tuning is a problematic subject on the traverso (baroque flute) because of the different embouchure techniques of the players. For my part, as much as possible, I follow Quantz’s own advice in his famous treatise. He explains that when we put the pieces together we should turn the embouchure hole inside towards the lips of the player .Tthe edge who receives the wind should be in line with the inner side of the finger holes. When playing the second D, the embouchure should be half cover.

Jean-François Beaudin



Personal list
Laser quality reproduction available for $35 (Canadian) each
Available at 312 chemin Richford, Frelighsburg, P. Québec, Canada, J0J1C0. (450) 298-5161.
Email : jfbeaudin@hotmail.com


    Traverso

  1. Pracher. *440Hz, boxwood, end of XVIIIth century. Private collection, Geneva.
  1. Rottenburgh G.A. * 415Hz, boxwood, small in f. Collection B. Kuijken, Belgium.
  2. Scherer. (Maker proposed) *412Hz, ivory. Coll B. Kuijken,
  3. Rottenburgh G.A. *415, 410Hz, boxwood, (very good sound and tuning). Coll, B. Kuijken.
  4. Lecler *415Hz, ivory, (good tuning). Museum at the conservatory of Brussels.
  1. Lot Thomas *410Hz, boxwood. Late shape. Collection Hélène D’Yvoire, Paris.
  1. Lot Thomas *415Hz, boxwood. Museum de LaHaye, Holland.
  2. Rottenburgh J.H. *400Hz, light ebony, (very good). Museum,cons, Bruxelles. Inv. : 2001
  3. Grenser H. *420Hz, boxwood. Museum,( Gementemuseum ),DeHague, Holland.
  4. Vincent D. *405Hz, ivory. Collection F. Bruggen, Amsterdam, Holland
  1.  Stanesby Jr. *410Hz, ebony. Collection M. Arita, Tokio, Japan.
  2. Lot T. *415Hz, boxwood. Coll. Miller, Lib. of Congress, Washington D .C. Inv. : 615
  3. Bressan P. (*405Hz) box, rare, three sections, center joint non orig. Miller, W. Inv. : 1207
  4. Quantz J.J. *392 à 415Hz, ebony, nice,six middle joints, two keys. Miller, W. Inv. : 916
  5. Dumont *410Hz, pearwood, big in Bb, France ± 1720. Miller, W. Inv. : 870
  6. Lot T. *415Hz, boxwood, big in A. Museum des arts et métiers, Paris.

   26- Quantz J.J. *405Hz, ebony, one middle joint. Museum Schloss Köpenick, east of Berlin.

   27- Lot T. *410Hz, boxwood, scew cap, Musée municipal de Clamecy, France.

  1. Rippert J.J. *395Hz (pitch proposed) boxwood, three sections. Private collection, Paris.
  2. Rippert J.J. *395Hz , ivory, three sections, (very rare). Coll. privée, Paris.
  3. Lot T. *420Hz, ebony, original very short middle joint Private coll, Melun, France.
  1. Grenser A. *415Hz, boxwood, m.joint no : 2. Collection P.Susanne, Paris, France.

   40- Lecler . *415Hz, boxwood, (good tuning). Collection, L. Kaltenback, Paris.

   41- Lott D. *413-418-425Hz, ivory. Private collection, Paris.

   42- Bizey C. *392Hz, boxwood, ± 1715. Restauration and coll J.F.Beaudin. Mtl, Qué, Can.

   48- Lot T. *405Hz, boxwood, piccolo,(very rare). Coll. L.Kaltenback, Paris.

  1. Naust. *405Hz, ivory, Four sections. Coll.L.Kaltenback. now M. Arita, Tokio, Japan.

   66- Wrede. *440Hz, boxwood,(english). Private collection, Montréal, Qué. Canada.

  1. Quantz J.J. *410Hz, ebony, one key?. Museum, Burg Hohenzollern, Germany.

   89- Lot T. *415Hz, boxwood, enlarge embouchure . Coll. A. Weemaels, Bruxelles.

   96- Delusse C. *420Hz, ebony, corps no : 2, (in tune). Collection J.P.Pinet, Metz, France.

  1. Rudall-Rose-Carte. *440Hz, ebony, drawing without key. Private collection, USA.
  2. Rudall-Rose-Carte. *440Hz, ebony, perfect condition. Coll. A. Jones, Montréal. Can.
  3. Amelingue. *415Hz, boxwood, ± 1770. Rest. et coll. J.F.Beaudin, Qué. Canada.
  1. Binyon. 440Hz, boxwood, one key, late english. Priv, coll, Montréal.
  2. Potter. 430Hz, boxwood, ± 1780, C foot, 4 keys + C#, D#. Coo, C.Guimond, Mtl.
  3. Lot T. 400 - 420Hz, My own choice of five middle joints from différent flûtes.
  4. Anonymus, french. 410Hz, ivory, Bisey style. Privite coll, Paris.
  5. Stanesby, Jr. ± 410Hz, ivory-silver rings. Miller coll, no : DCM 1125
  6. Rottenburgh J-H. 415Hz, maple, + corps d'amour 397Hz, Miller DCM 507.
  7. Hotteterre Jacques ? very rare, 398Hz, boxwood-ivory. Cité, Paris. E. 999.6.1
  1. Cornet. Hautboy, 400Hz, boxwood-ivory. Musée LaCouture. July 2004.
  1. Beaulieu. 396Hz, ebony and silver rings, rare, Bisey style, coll, M.Arita, Tokio.
  2. Tortochot. 415-430Hz , rosewood-ivory, bore 19.4, perfect. Coll, M.Putterman, Montréal.
  3. Tortochot 415Hz, ebony-ivory, bore 19.1, foot missing. Collection J.F.Beaudin, Montréal.
  4. Tortochot 415, X, X, Hz, ebony-ivory, bore 19.1. Coll, M.Leone, New-York.

    Recorders

  1. Hotteterre Louis. *398Hz, boxwood, bad middle joint bore . Coll. Miller, W. no :326.

  47- Anonyme *415Hz, galoubet XVIIIth century.Rosewood. Coll. Hugo Reyne. Paris.

  1. Rippert J.J. *395Hz, boxwood, (nice and rare). Collection L.Kaltenback. Paris.   See the website "  The recorder home page "  of Nicolas Lander     
    http:/ / www.iinet.net.au/ ~nickl/ drawings.html

    See the other lists of my drawings from european museums.

    ---------------------------------------------------------------------------------------------

    Musee de la cité de la musique, 221 avenue Jean-Jaurès, 75019, Paris, France.             
    ( 14 flutes, 11 recorders.)

 

    http://www.cite-musique.fr/francais/musee/amis_du_musee/liste.htm

    Email : musee@cite-musique.fr

    --------------------------------------------------------------------------------------------

    Museum of Edinburgh University, The Curator, Edinburgh University Collection of Historic Musicalinstruments,
    Reid Concert Hall, Bristo Square. Edinburgh,EH8 9AG, Scotland.     
    ( 3 recorders, 11 flutes )

 

    http://www.music.ed.ac.uk/euchmi/uwl.html# woodwind

 

    Email : collectionHistoricMusicalins@ed.ac.uk

    --------------------------------------------------------------------------------------------

    Museum of Berlin. Musikinstrumenten-Museum Staatlicshes Instituts fur Musikforschung,
    PreussischerKulturbesitz1. D10785 Berlin-Tiergarten. Germany.          
    ( 5 recorders, 13 flutes )

--------------------------------------------------------------------------------------------

See my drawing of the Quantz flute ( number 19 of my list ), in the Miller Collection at the Library of Congress, Washinton, D.C.                     http://memory.loc.gov/ammem/dcmhtml/0916_.html