Bass flute dimensions

Kingma Bass flutes are renowned worldwide for their flexibility, response and power over all registers. With the increase in available repertoire and the versatility of today's musicians, the use of bass flutes has dramatically increased in recent years. It is possible to offer a solution for any performance task. The very ergonomic design and well balanced mechanism of a Kingma Bass flute has resulted in much more comfort during performance and rehearsal.

This stimulates the player to use it more and more. We are convinced that this instrument has gained the respect it deserves.

We feel honoured to present a scale for the bass flute designed by Albert Cooper. A Kingma Bass flute is silver plated and comes with a solid silver head joint, silver lip plate and embouchure. Every instrument is delivered with a custom made case, nylon case cover and cleaning rod. The standard closed-hole Bass flute is available in large and small bore size. Two trill-keys and a split-E mechanism are standard on this model. The tone holes are soldered and the key cups are closed.

This model is a terrific instrument for flute quartets, ensembles and flute choirs, but has also proved to be a good choice for the classical repertoire. The size of the case allows the instrument to be taken as hand luggage on a plane. This model is equipped with open holes on A and E the two middle fingers and on B thumbkey. This model is often ordered with a B-footjoint. A 'standard' model with a lot extra. It is usually ordered with a B-footjoint.

A wonderful instrument for contemporary repertoire and extended techniques. This is a standard Boehm system instrument that incorporates 6 extra keys. This instrument is highly recommended for contemporary repertoire. Because of the complexity of the mechanism it is advisable to have it custom made for your hands. Inthe bass flute was the first instrument to be equipped with a 'key on key' system. Now this system has found its way on to the C-flute and the alto flute. The Upright Bass Flute in C is one of the most recent models from our workshop.

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It is designed to prevent strain in the shoulders by putting the weight on a supporting stick. This instrument is a Bass Flute in C and is available with a standard and a bigger bore size. Especially the low register of this instrument is very powerful. A B-footjoint is available for this instrument. It is a wonderful instrument for flute choirs. A resting stand is included.

How to make E base flute with measurements part 1

I played one of them at a concert and I was so happy that the public managed to hear me even in the low register in front of a big orchestra - 75 musicians is big for a flute concerto but huge for a Bass flute.

I also was surprised to find a high register - the 3rd octava - with a beautiful real flute sound and, what is the cherry on the top of the cake, in tune!

I am waiting now to see what her imagination will bring to us, but be sure that it will be revolutionary! Robert Chadwick : "I have been playing Eva's bass for several years now.Scroll down page to hear flutes. Scroll down page to see wood grain closeups. I'm very impressed with the accuracy of the note tuning. I tested using sinewaves from a synthesizer. Just the tone that I have been looking for.

I took it to work with me Wednesday and the folks at work asked a lot about it.

Getting Started Playing Alto, Bass, and Contrabass Flutes

The reach is perfect. We have been given the spirit of: Love, Power, and Sound Mind Be Not Afraid, for the spirit of fear was not given to you, it is a choice. Be Patient The natural rich warm sound that comes only from an instrument made from wood, touches the soul of all those who hear it.

It is our experience that each individual person has a specific key that touches them uniquely. Discovering which key calms you, is easy on our website.

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We have lots of flutes for you to hear. This will enable you to play along with other instruments. Your flute will sound this way for you when you play it at home. Your flute will produce a rich, clean quality sound and have tremendous volume, without the use of a microphone.

Compare Flute Players. Both are playing a Bass C Size Flute. Mark is over 6' tall and Mrs. Henderson is 5'3" tall. Notice how far Mrs. Henderson has to extend her arm to play the notes on the bottom and how far she has to spread her fingers to cover the holes. We do not recommend Bass Flutes for anyone with small hands or a beginner player.

Need help determining the size of flute that is a perfect fit for you? We'd love to hear from you. The softer woods produce a warmer tone. The harder woods produce a brighter tone.As flute choirs get more and more popular, more flutists are purchasing alto, bass and contrabass flutes than ever before, both to play in flute choirs, as well as to explore the expanding repertoire written for the larger flutes.

Although the basic fingerings and written range are the same in all members of the flute family, the larger diameter of the tubing in alto, bass and contrabass flutes require the player to make adjustments in air management, hand position and alignment of the instrument that differ from those used when playing concert flute.

Larger flutes require more air. The alto, bass and contrabass being successively larger than the concert flute, both in diameter and in length, require successively larger volumes of air to play along with proper support of the air column to achieve a pleasing and projecting tone.

For comparison purposes, approximate measurements of concert flutes are. Thank you to Paige Long for the following measurements of even larger flutes…. Alto flutes are pitched in the key of G, a perfect fourth below the concert flute. Since the embouchure hole and tube diameter are larger than those of the concert flute, and the instrument is almost 8 inches longer, a slightly wider aperture in the embouchure is necessary to provide a sufficient volume of air to play the alto flute.

Bass flutes sound one octave lower than the concert flute and are almost twice as long with an even larger embouchure hole and more than double the diameter, requiring even more air and a wider aperture than for the alto flute. Contrabass flutes sound two octaves lower than the concert flute and are approximately twice as long with a larger diameter than the bass flute, requiring even more air and a slightly wider aperture.

While the upper octaves are the strongest and loudest for the concert flute, they are the weakest octaves for the larger flutes. Although the higher notes have a beautiful and ethereal quality in alto, bass and contrabass flutes, finding the proper air speed and angle for the air stream to play these notes accurately requires finesse, as they can be overblown easily—the larger the flute, the easier it is to over blow the higher notes.

When playing alto, bass or contrabass flute, the airspeed used should be slightly slower than for concert flute, especially for notes in the second and third octaves. When playing concert flute, many flutists increase the airspeed in the higher octaves.

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If the airspeed is too fast when playing a high note on one of the larger flutes, it may result in a harmonic instead of the desired note.

When playing an alto, bass or contrabass flute for the first time, it is advisable to warm up and get to know the instrument.

Start slowly with some long tones on notes on notes such as A, G and F in the first octave, to determine the air stream width and speed necessary to produce a good tone. Remember that playing the larger flutes requires more air than playing the concert flute.

Then play octaves to determine proper air speed and angle of the air stream—F1 and F2, G1 and G2, and A1 and A2 are good notes to start with. When these notes can be played comfortably, proceed to playing octaves through the chromatic scale starting from C1 to at least G3, getting to know the proper air stream angle of the notes through most of the range of the instrument.

In subsequent practice sessions, it is advisable to play through this octave exercise with an electronic tuner to determine intonation idiosyncrasies of the particular instrument, so it can be played better in tune. Playing one or two octave scales checking pitch with an electronic tuner is also a good way to determine the pitch tendencies of the instrument.

The upper octaves of many big flutes can be notoriously out of tune and require the player to listen carefully and adjust individual notes to correct the pitch. The intonation upper octave notes can be sometimes be improved by using alternate fingerings. Alignment of Big Flutes.The bass flute is a relatively young instrument that designers started experimenting with during the s and 30s.

Because there were different makers all working towards 'inventing' the instrument scattered across various parts of the world there are a number of different versions of the instrument.

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Today this is considered the standard and looks very similar to a concert flute. It is held out to the side and the pipe bends around in a U shape to allow the performers to reach the keys. It is exactly twice the size of a regular concert flute with an approx.

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Around the same time as Rudel Carte, Abelardo Albisi, an Italian flute player was developing an upright bass with a B footjoint. Up until the s, the alto flute was frequently referred to as a bass flute simply because it had been the lowest member of the flute family. After the invention of the bass flute, the 'original' bass flute became formally known as an alto flute.

Originally the bass flute was mostly used in flute ensembles. However, there is now a growing amount a solo, chamber and orchestral music being composed for the instrument. The bass flute is played in exactly the same way as a regular flute with the flautist blowing across the embouchure hole to produce a sound. The instrument uses a lot of air that moves very slowly especially when compared to the piccolo which uses very fast air.

Typically a bass flute has closed holes and a C footjoint however there are models with a B footjoint. Despite the size of the instrument it is surprisingly responsive and has maintained a lot of the agility associated with the flute. However, sometimes when the instrument is exceptionally cold it will be rather slow to respond. The bass flute is naturally quieter than a normal flute and is consequently often amplified during performances.

Horizontal bass flutes must be supported by the flautist. There are lap crouches that can help take the weight of the instrument but these are often quite awkward to use. In comparison, the vertical or upright bass is supported by a cello spike so the floor takes the majority of the weight.

The bass flute is a transposing instrument with its sounding pitch being one octave lower than it is written. The upright bass is very similar to its horizontal twin accept it has been shaped to support a vertical playing position.

The height of the instrument is adjusted to suit the player using a small cello spike that is attached to the bottom end of the instrument. All the fingering is the same. The instrument is positioned like a bass clarinet in front of the performer. The Kingma System allows both alto and bass flutes to be made with open holes. Their bass flute models are available as either a vertical or horizontal instrument. One of the key advantages to open holes is they provide the player with greater control over the instrument.

They also allow the instrument to play a variety of extended technics such as glissandi and multiphonics that would otherwise be impossible to produce. Learn More. Seven Bass. The Seven Bass Flute by Hogenhius is essentially the same as the Epsilon except is it shaped like a number 7.

The reasoning for this is to achieve a more ergonomic hand positioning.

bass flute dimensions

This type of bass flute are exceptionally rare and are only made by Hogenhius. Epsilon Bass The Epsilon bass flute by Hogenhius is unique in its design. The weight of the instrument is support by a strap that goes around the performer's neck and then clips onto the instrument. Much like a saxophone.The concert flute, or C flute, is what we think of when someone mentions the flute, and it is certainly the most widely played instrument in the flute family.

Flutists start out learning the C flute, and, if interested, add to their skills later by learning to play another type of flute from the flute family. Variety in flutes is not a new thing — flutes have been around for centuries, and transverse flutes, flutes that are held horizontal across the body rather than vertically, are illustrated in art as early as the Renaissance.

The types of flutes we find in the modern flute family especially started to develop in the 18 th century, with solo players who wanted to extend the range the flute could play. Early attempts at extending range only slightly adjusted the size of the flute. In fact, this is where the separate foot joint was first introduced, allowing the flute to play as low as c 1 or b 1. But elongating the flute this way also caused problems.

The difference in length and diameter of the cylinder reduced the fullness of the lower notes and also affected intonation and tone color. The piccolo is by far the second most recognized of instruments in the flute family. Like the flute, the piccolo is a descendant of the military fife of the Middle Ageswhich sounded at a tone above the piccolo.

This is part of the reason piccolo is so popular in modern military marches. Composers first used the piccolo to extend the range of the flute. If the composer wanted a higher register than the flute allowed, the piccolo would be put on the melody with the flute playing harmony below it. The piccolo was also often used to decorate the melody using ornamentation.

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Today, piccolo is used regularly in orchestral scores and opera. High, sharp sounds from the piccolo are used to represent sparks during a storm, and softer tones from the piccolo in unison with the flute can create a feeling of tranquility.

Types of Flutes: The Modern Flute Family

The piccolo often has a bad reputation because it can sound shrill. It is also more difficult to play than the other types of flutes, especially in terms of intonation and tuning. Its smaller embouchure hole requires a tighter embouchure and a faster air stream, especially in the higher register. The higher register, also, is harder to tune anyway because of the smaller variation in wave length for each note.

At about half the size of a C flute, piccolos sound a whole octave higher than the flute. The modern piccolo can play as low as d 2and as high as c 5.

Piccolos are made from wood, silver, plastic, or any combination of those materials. Wood piccolos are usually the best choice for orchestral work because they have a rounder sound; however, silver or plastic piccolos are much more popular in marching bands or other outdoor performances because they can withstand the moisture and temperature changes better than a wood piccolo can.

Though many think of the piccolo as a secondary instrument to the flute, it really has its own challenges and brings its own enjoyment. Apply yourself to learning to play the piccolo in its own right, and you can become a specialty player on this fun instrument. The alto flute has many predecessors, dating back through the Renaissance. The development of the alto flute was also complicated for physical reasons. Lengthening the flute meant expanding the distance between the key holes, as well as between the embouchure hole and the keys, making it difficult for flutists to hold and to play.

The alto flute really settled on what it is today with the work of Theobald Boehm, who developed a system of correctly placed tone holes with a rod-axle mechanism, what we recognize on any flute today as the finger keys.

bass flute dimensions

Boehm also recognized that just lengthening the C flute was not the way to create a great sounding instrument.Where do I place the finger holes? One of the easiest and most organic ways to lay out the finger holes and direction holes of the flute is to follow the traditional method typically called Grandfather tuning.

Many makers still tune their flutes using this method. Here's a description of this method by Dr. Richard W. Thanks to the Oregon Flute Store for permission to reprint it here. My notes and clarifications are shown in [brackets]. The flutes were made in the old days by the dimensions of the maker. The length of the flute was the length of the arm, from the axilla [armpit] to the tips of the fingers. And then the tone chamber [ sound chamber ] was from the elbow, the antecubital space [the depression in front of the elbow], to the end of the fingers.

The wind holes [ direction holes ] were placed a thumb's breadth from the end of the flute.

Bass flute

There are four wind holes and they were placed to direct the song to the four directions. They also extend the length of the flute and, if you want to put an effigy at the end, it allows you to do that without interfering with the tonic note [ root notemeaning the fundamental note of the flute, played with all finger holes closed]. Then, from the wind holes, the lowest tone hole [meaning finger hole ] was place a palm's breadth up, and then the tone holes were a thumb's breath apart.

Now this should have left a palm's breadth at the top, but if you do this, your octave is too high, so you make them with a palm's breath plus two fingers to the sound edge or fipple edge [ splitting edge ]. The length of a Chippewa flute was according to the stature of the man who was to use it.

The middle of the whistle opening should be a spread of the man's thumb and first finger from the upper end of the tube. The flute illustrated pl. It was obtained on the White Earth Reservation, and the position of the openings is different from the measurements described by Skinaway, who was an expert worker.

Chippewa Flute, The Grandfather Traditional Finger Hole Placement method described above is one type of placement method that results in equally-spaced finger holes. Most flute makers today who wish to use equal-spaced holes rely on a ruler and a few very basic calculations to lay out their finger holes.

It applies to mid-range contemporary Native American flutes without direction holes. The rule is simply that the finger holes should be contained, or close to being contained, within the middle third of the physical bore length. But, if they are not too far away, you should end up with a flute that has reasonably sized holes and plays reasonably well in scale in the fundamental octave. The further away from the mid range F or Fthe more likely the holes will vary from this rule, more as a matter of ergonomics.

Allowances for tuning or direction holes would need to be considered. If I were to make a mid range flute without the benefit of conventional measuring tools, I would first get the fundamental note playing well.

Tuning would be adjusted by the hole sizes. I am pretty confident that a decent sounding flute would result. A number of methods have been used to physically record and replicate an existing flute design. The basic idea is that of a story stick — a device whose size, shape, and markings tell the story of how to construct an instrument.

They are like a three-dimensional plan that provide key markings and measurements. At a minimum, the story stick should record the length of the sound chamber and the locations of the sound hole, finger holes and direction holes.

The J. A variant of the story stick idea is to mark the key locations of a flute on a piece of elastic. This allows you to stretch the elastic to fit a flute with a different length sound chamber, and have the key locations scaled to the new size of flute.This page provides many dimensions for crafting flutes in general and Native American flutes in particular.

The information has been assembled from many sources, and I have tried to cite those sources wherever possible. The diagrams on this page represent the configurations that I have seen most frequently on Native American flutes.

There are many variations on the basic designs show, far more than can be captured by the limited number of dimensions on this page. Differences in construction techniques and artistic elements create a myriad of possibilities. These diagrams and the recommendations for various dimensions provide a starting point for flute crafters.

Overall Flute Crafting Dimensions. The length and width of the of the breath holeif the instrument has one the mouth end of some flutes is simply open directly to the slow air chamber.

bass flute dimensions

There are many possible configurations for the breath hole, and these two dimensions provide only a minimal description of the breath hole. My personal belief is that less experienced players are better served with a smaller breath hole which produces a moderate amount of back-pressure, while more experienced players prefer a larger breath hole configuration which gives more direct control over the air pressure in the flue.

There are a number of other dimensions on this page that affect breath pressure. The length and width of the slow air chamberif the instrument has one. The physical length of the sound chamber, from the upper most portion including any backset — see below for this dimension to the physical end of the sound chamber.

Be aware that this dimension may have little to do with the acoustic length of the sound chamberespecially if the flute has direction holes or ornaments such as a carved bird head are present on the end of the flute. The Sound Chamber—Length is the primary dimension that controls the pitch of the lowest note on the instrument — — which is typically the key of the flute.

The inside diameter of the sound chamber at a given location along the length of the sound chamber. In the most common configuration for Native American flutes — a cylindrical bore shape for the sound chamber — this single dimension captures all the information needed. Additionally, if the bore shape is oval, square, or some other shape, multiple measurements are needed at each location.

However, it typically suffices in these situations to use the cross-sectional area of the sound chamber at each location. The ratio between the Sound Chamber—Length and the Sound Chamber—Diameter has a dramatic effect on the playing characteristics of the flute. The ratio of the length to the diameter of the sound chamber has a dramatic effect on the playing characteristics of any wind instrument. However, this length is really the acoustic length of the sound chamber — a number close to, but not exactly, the physical length of the sound chamber.

For more on acoustic length, see Acoustic Length of a Flute. The ratio L:D is called the sound chamber aspect ratio of the flute. For example: Native American flutes tend to have lower sound chamber aspect ratios i. A sound chamber aspect ratio of 18 is typically quoted as a good starting point in for novice flute makers. In contrast, the Western concert flute has a sound chamber aspect ratio of about 38 and the fujara, an ethnic wind instrument from Slovakia, typically has a sound chamber aspect ratio of about The thickness of the wall of the sound chamber at a given location along the length of the sound chamber.

These measurements are particularly important at the location of any opening in the sound chamber — the finger holes and any direction holes. In the most common configuration for Native American flutes — a cylindrical bore shape for the sound chamber — the wall thickness is the same at all these sound chamber openings. The outside diameter of the sound chamber at a given location along the length of the sound chamber. In flutes that have a taper or flare in their sound chamber, the outside diameter might follow that inside diameter, or the outside diameter might be independent of the shape of the sound chamber.

In particular, recorders are often manufactured with highly ornamented outside shapes to their bore. The longitudinal location of the center of a given finger hole or direction hole in relation to the sound chamber. Alternately, the station could be given in terms of a percentage of the distance between two fixed point along the sound chamber on either side of that finger hole, typically the head and foot ends of the sound chamber.