intermediate between the fundamental note of the flute and its first
harmonic, by holes so disposed that, in opening them successively,
they shorten the column of air in exact proportion. It is, therefore,
ideally, an equal temperament instrument and not a D major one, as the
conical flute was considered to be. Perhaps the most important thing
Boehm did for the flute was to enunciate the principle that, to insure
purity of tone and correct intonation, the holes must be put in their
correct theoretical positions; and at least the hole below the one
giving he sound must be open, to insure perfect venting. Boehm's
flute, however, has not remained as he left it. Improvements, applied
by Clinton, Pratten, and Carte, have introduced certain modifications
in the fingering, while retaining the best features of Boehm's system.
But it seems to me that the reedy quality obtained from the adoption
of the cylindrical bore which now prevails does away with the sweet
and characteristic tone quality of the old conical German flute, and
gives us in its place one that is not sufficiently distinct from that
of the clarinet.

The flute is the most facile of all orchestral wind instruments; and
the device of double tonguing, the quick repetition of notes by taking
a staccato T-stop in blowing, is well known. The flute generally goes
with the violins in the orchestra, or sustains long notes with the
other wood wind instruments, or is used in those conversational
passages with other instruments that lend such a charm to orchestral
music. The lower notes are not powerful. Mr. Henry Carte has, however,
designed an alto flute in A, descending to violin G, with excellent
results. There is a flute which transposes a minor third higher than
the ordinary flute; but it is not much used in the orchestra, although
used in the army, as is also a flute one semitone higher than the
concert flute. The piccolo, or octave flute, is more employed in the