This page has been validated.
Story of the Flute
which had really nothing at all of system in them; and theories were hastily laid down which were untenable on the commonest principles of science. . . . We have seen flutes sent forth with flaming titles and explanations based on acoustical theories and all sorts of scientific nostrums which were to astonish the orchestras of Europe, and we look round now in vain to see a single trace of their existence. . . . Any experimentalist, should he invent or alter but a single key, calls such invention a theory or system, and he attempts to show that the acoustical properties of the flute demand this key or this alteration."
The first of this "noble army of patentees" was Coche, who made one really valuable addition—namely, the hole and key for the C′′♯ D′′♯ shake—which is now put on all good flutes. Most of his modifications are ofCoche andBuffet no practical value and have never become general. He adopted an excavation in the head-joint where it rests against the lower lip of the player, a device already suggested by Ribcock (c. 1782) and used by both Böhm and Gordon. It is still occasionally met with. Buffet fitted the keys with needle springs of steel wire (c. 1837), possibly at Coche's suggestion. These have since been universally employed on Böhm flutes. Strange to say, Böhm at first objected to them and would not use them, preferring the old flat brass springs. The needle springs were first used in England by Cornelius Ward in 1842. Ward was not satisfied with Böhm's flute. Accordingly in substitution for this "bungling compromise
66
