Baroque Piccolo after Thomas Lot III

Baroque piccolo after Thomas Lot III

Baroque piccolo after Thomas Lot III


This surviving original is private collection which is somewhere in the earth.
We can get the technical drawing from Mon. Jean Francois Beaudin.

If I get some more technical drawings of baroque piccolo, I will be able to say some certain stuff.

This one sounds at 391 Hz. The tone holes are very wide to the diameter of the bore.

Tone holes of Baroque piccolo after Thomas Lot III


Tone holes of Baroque piccolo after Thomas Lot III

However the balance of the intonations of all the range is similar to Baroque flute. The measurements’s of the tone holes are quite near to get better intonations. The condition is very good, I think.

I set some fingerings for it.

  • High Bb (12- 456 7)
  • High B (1-3 45- -)
  • High C (-23 45- 7)
  • High C# (-23 4– 7)
  • High D (-23 4-6 -)

A few of them are different of ones written in the technical drawings. I’m not sure whether High D(-23 — 7) is available. Because this one doesn’t have alternative joint. So it better is tuned at a pitch. In this case, the position of the head cork is set to match 3 Ds (-23 4-6 -, -23 456 -, 123 456 -).

Embouchure hole of Baroque piccolo after Thomas Lot III

Embouchure hole of Baroque piccolo after Thomas Lot III

The embouchure hole is smaller than Baroque flute’s.It needs to play high notes with some more stronger pressure of the blowing air and narrower embouchure than normal baroque flute.
The 7th hole is far from 6th hole. So This tone hole is wider.
Foot joint of Baroque piccolo after Thomas Lot III

Foot joint of Baroque piccolo after Thomas Lot III


I tried to play some baroque music pieces from the operas. The following link is connected to my YouTube channel.
Some music pieces for the baorque piccolo

I have enigmas why French people made and played low pitch flute, although they aren’t taller and Danish people made and played high pitch flute than French one, although they are tallest. I guess, when people play low pitch flute, their fingers are extended and we can play rapid trills more easily with such form. That is similar that the player of the Bassoon, Fagotte can play very rapid passages. Is that the reason why French baroque music demands various ornamentations ?