Baroque flute after Thomas Lot III @ Washington

The original of this flute belongs to the Dayton C. Miller Flute Collection and its number is DCM0615. I also studies some other drawings. I think that this surviving original was tuned up. Because the bore of head joint was widen and the bore of foot joint also was widen. In baroque period, more large bore which the diameter of head joint is about 20 mm might be special service. Lot III seemed to make the diameter less 20 mm. So there might be tuning up which we can called bore up service in later baroque period.
This my replica was made based on DCM0615. That means this one is replica after tuning up.
I’m thinking about making the other model after Thomas Lot III. It’s before tuning up.

3 Flutes traverse after Thomas Lot III

3 Flutes traverse after Thomas Lot III

It can be played quickly and lightly.
It sounds at 394Hz with longest joint, 414Hz with shortest joint.
Probably, at 392Hz, it will able to play by adjusting the joint between head and joint.
However, It maybe difficult to attack high D with the shortest joint.

The flute after Thomas Lot III ordinally has large undercuttings.
This time, I tried tuning with smaller undercutting than the one which surviving original
have. I think that the undercuttings of the surviving flute are too large. For that, the surviving flute losts the focus of the sound and stability of intonation.
I have listend that an amateur flutist plays baroque flute after Thomas Lot III made by ?.
When he played Mid C, C#, the intonation were unstable.

Why does the original after Thomas Lot III have large undercuttings ?
I think the following:

  • Generally on the flute, the octaves of C# and H are narrow. To solve this problem, large undercuttings we used and increased volume. Because the large undercuttings produce wide octaves.
  • 1st and 2nd tone holes on the alternative joint are more far from the embouchure hole than on the flute after Bizey who also was a French woodwind maker. So, it needs large undercutting to raise its intonation .
  • Tuning at a higher pitch (about 420-422) than Mozart and Haendel might have used.

This flute has a smaller embouchure hole than Quantz’s. Its diameter is about 8 mm.
It’s easy to produce a stable tone. Then, I tuned with my useful temperament. We can play all of the keys well by tuned the temperament.

Why didn’t the other makers use large undercutting like Lot ?
That’s an enigma. If the technique brought very good things, The other makers must used same or similar techniques. However Actually, Grenser, Quantz, Bizey, Kirst, Denner didn’t use Lot’s technique. Why ? They might notice the technique was fake.
The grass harp was popular temporally, Lot’s flute also might be in such popularity mode ?

When I made this my replica, I undercut with paying attention, and observed the sound. The intonation of the sound raised and the sound became good with enough volume. However, when the undercutting was over 9 mm at the inside, the intonation became a little unstable.
Then I decided less undercutting like Quantz, Kirst. Lot’s flute could get popular character, so his flutes were sold to many people. That wasn’t a temporally mode ?

Embuchure hole of flute after Thomas Lot III

Embuchure hole of flute after Thomas Lot III

But the fingering is not same as in the flute after J.J.Quantz.
If this flute has a decoration ring made from imitation ivory and a head screw, for a professional player, it will be good flute. Such decoration parts made from high density material affects to the sound and potential.

Eb key is large and useful. On this flute, the large key often is used.
The design of key is based on surviving flute after Thomas Lot III @ Washington.

key of flauto traverso after Thomas Lot III

key of flauto traverso after Thomas Lot III

The spring is attached with a pan head screw like in Quantz’s flute.

The key spring attached by Pan head screw

The key spring is attached by a Pan head screw

The following Grenadilla flute does not have decoration rings made from imitation ivory.
This is played more flexible and we can play diminuendo to the limit of the volume. In the other word, Imitational ivory doesn’t work well on diminuendo.

Flauto traverso made from only Grenadilla after Thomas Lot III

Flauto traverso made from only Grenadilla after Thomas Lot III

The next flute has some decorations made from imitation ivory.
With a short alternative joint, It will be able to be played at about 415Hz.
It’s more easy to attack more clearly with imitational ivory mounts.
It sounds powerful and soulful.

2 joints for flute after Thomas Lot III

2 joints for flute after Thomas Lot III

The design of the head cap is not based on the surviving flute after Thomas Lot III. The surviving head caps have various designs. I used the measurements of his master Delerablee’s.

Head cap of flute without head screw.

Head cap of flute without head screw.

I have not ever seen flutes after Thomas Lot III which have head cork position screw adjust system.
If some corps often are used, I think it maybe is needed.

Head cord screw adjust system

Head cord screw adjust system

The balance of octaves is especially good and the sound is powerful.
However high Eb is too sharp. So, I think Quantz needed D# key.

Options
Wooden material

  • Grenadilla (powerful and loud sound)

The others

  • Head screw
  • Imitation ivory
  • Silver key

Audio Sample

  • Gigue en Rondeau by Michel Blavet

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  • Allegro from Canonic Sonata no.1 by G.Ph. Telemann

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  • Bei Männern, welche liebe fühlen from “Die Zauberflöte” by W.A.Mozart

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