Page:The story of the flute (IA storyofflute1914fitz).djvu/66

 chief merit was that he attempted to make flutes on a rational principle, and that he aimed at perfect intonation throughout the entire compass of the instrument, being a strenuous advocate of an open-keyed system (Page 31, Fig. 3). He added another long key for B♭ (worked by the first finger of the right hand), altered the position of the G♯ hole and key, and made several other changes which may be disregarded as they were not permanently retained. Tromlitz published three important works on the flute in 1786, 1791, and 1800 respectively; in those of 1791 and 1800 he seems rather to disapprove of keys (save in the hands of skilled players), of the tuning slide, and the low C♮ and C♯ keys. In the book of 1800 he advocates a flute with only a D♯ key, but with holes for the thumbs (F♯, B♮), and for the little finger of the left hand (G♯). This is interesting as being the earliest attempt to produce a chromatic flute with open holes; but his system left many "veiled" notes; still it was a step in the right direction. This idea of constructing a chromatic flute with all the holes open and in their true positions was carried still further by Dr. H. W. Pottgiesser between 1803-24. According to Ward, his was "the first truly scientific remodelling of the flute." Pottgiesser's first flute, in two pieces only and with only one key, was wider in bore and shorter than other flutes. In his second flute (with keys) he equalized the size of the finger-holes, suggested rollers for the "touches" of the thumb-keys, and introduced a perforated key for the C♯ hole. The object of this "ring