Baroque flute traverse after J.J.Quantz @ Köpenick

Surviving original of this flute is at Köpenick and the number is DDM1170. But I studied some other drawings. This surviving original has narrower bore in the heart piece. By that, The octave of Low G and Middle G gets good balance.
To play at 392
It has less undercutting than DCM0916 at Dayton, so It’s easy to attack and get stable tone and howling resonance.
The measurements of the alternative joint is from DCM0916’s.
I tried tuning alternative joints for many times. then I think no.2 joint is the best to play at 392Hz.
To use no.1 alternative joint
The intonation balance with no.1 alternative joint is not good. It’s too long to tone holes on the heart piece. For that, It can be tuned after tuning heart piece to short alternative joints. In the other word, To tune no.1 alternative joint, too wide undercutting of the tone holes are needed to get unstable intonation.
High F
It’s very difficult to attack high F on this flute with narrower undercutting of tone holes.

Flute traverse after Quantz @ Köpenick

Flute traverse after Quantz @ Köpenick


Embouchure
My replica’s embouchure hole is same measurements to DCM0916, but it is undercutted less to get enough resistance to blowing air.
Embouchure hole

embouchure hole

Less undercutting and circle tone hole
My replica has smaller tone holes because of tuning with only no.2 alternative joint to play at 392 Hz. The circle tone hole and less undercutting have resistance to blowing air. By that, We can play it with more blowing air. I think that the early baroque flute with 3 pieces have such smaller tone holes and less undercutting because of tuning at one pitch. We must be able to play such flute with more air.

Tone holes of corps de rechange

Tone holes of corps de rechange


Tuning
I tuned this with my tuning method. It’s near from Kirst’s probably and far from Quantz’s. Because My method is useful to play in all keys. So D# key is used only High D#. And a few fingerings are from Hotettere’s. My replica isn’t available to play at various pitch with alternative joints. It is tuned at only one pitch.

Casted keys
The silver keys are casted like original.

keys

keys

Springs are attached with screws
The screws are changed to pan head.

Pan head screws

screws

Now day, We play baroque music with baroque musical instruments at 415, 392, rarely 400. Only 3 pitches. We can play baroque music with replicas tuned at each pitches. Such flute must have high potential and stability than the flute which is available to use alternative joints, I think.

Flute traverse after Quantz a Köpenick

Flute traverse after Quantz a Köpenick

The all ivory balusters and head cap are imitation. The wood is made from african black wood and the head screw is made from brass.

Flute traverse after Quantz at Köpenick

Flute traverse after Quantz at Köpenick

Audio samples

  • IV Prest QV3:1.18 from Caprices and other pieces for solo flute composed by J.J. Quantz

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  • Allegro from Duette QV 3:2.1 for 2 flutes composed by J.J.Quantz

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  • Fantsies 1 from 12 Fantasies for solo flute composed by G.Ph.Telemann

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