Rudall Carte Serial Numbers Flute Fingerings
Rudall Carte Serial Numbers Flute Fingerings Above High C. Keygen Searching Blog. DESPERATELY REQUIRE crack or keygen for solidview pro 2004. Find great deals on eBay for rudall carte and rudall carte flute. Shop with confidence.
Dating particular flutes more accurately
Combining the address information provided by Langwill's Indexof Musical Wind Instrument Makers and the serial numbers andaddresses from instruments in the Study, we can interpolate tofind the probable date of any flute for which we have a serialnumber. The blue squares are known address changes or fluteswhose dates are known independently. I am indebted to Robert Bigio for thetwo final dates.
On the company's productivity
It is also possible to get some idea of the company's rate ofproduction. We can see it varies greatly:
It is tempting to assume that the introduction of Boehm's 1832instrument caused the downturn of interest in 8-key flutes fromabout that time, but we would need to see sales figures for thoseinstruments before such a conclusion could safely be drawn.Indeed, since manufacture by Rudall & Rose of the Boehminstrument didn't start until 1843, perhaps it was more that adownturn in interest in 8-key flutes prompted the company todiversify into other flute types.
It is interesting to note that the Patent Head was patented in1832 and its manufacture continued until the 60's. Was this anattempt to win back market share?
Again, it is tempting to see the sharp decline at 1850 as aresult of the introduction of Boehm's 1847 cylindrical flute.Again an examination of sales figures for the new instrumentwould be helpful. It was clearly a period of upheaval for thecompany, with the induction of Carte and several changes ofaddress around that time, in addition to the changes which musthave been necessary to take on manufacture of the far morecomplex instrument.
On Evidence for Models
Lengths of parts and positions of finger holes appear to varyvery little between instruments throughout the serial numberrange. This makes a certain amount of sense - after all theplayer's hands define to a certain extent what is possible interms of reach. It does suggest that we need to look moreto bore profile and fingerhole sizes to differentiate betweenmodels.
On Finger hole sizes
The right hand finger holes seem to vary themost, with F# for example varying from around 8 to around 11mm. Early data seems to suggest strong clusters around 8 and 10mm. These might be our earliest indications ofdiscrete and popular 'models'.
Distribution of models
The chart below illustrates how the small, medium and largeholed instruments are distributed with time. Left end starts at Serial No454, the middle large-hole is No 4260 and the right most flute is 7174.
On body keys
Four distinct key types have been reported so far on thebodies of the instruments surveyed:
- pewter plugs (# 655)
- saltspoon (well distributed)
- flat disk 'keycups' with plain leather 'pads' (# 4795)
- dished cups (#4974)
- wide cups with vertical sides and a low domed top soldered to forged shafts (# 7174)
On footjoint keys
Footjoint keys for C and C# seem usually to involve pewterplugs closing on metal plates screwed to the wood. The Eb key varies between the pewter plug variety or being thesame as the rest of the keys on the instrument.
On 'unusual' keys
Unusual keys (ie. those not part of the 'normal' 8-keycontingent) reported so far include:
- a 'Brille' (additional upper C pad operated by ring keys on the top two holes) (# 2625)
- a double Bb key, operated by both LH thumb and RH forefinger (# 4795, # 5088)
- nine keys, extending the bottom note to B (# 3312)
- ten keys, extending the bottom note to B and Bb (# 3060)
- a C#/D trill key (#6239)
- a roller on short F (# 605)
- a high E key (# 5356)
On Foot Length
As mentioned above, the lengths of the body sections and placement of fingerholes varies only slightly. A fascinating pattern emerges with the length of the footjoint however. The earliestinstruments were nearly 150mm, gradually making their way down to around 140mmby about No 4000 (c1840). They settled in this area until about No 7000(c1885), whereupon they shortened suddenly to just over 130mm.
Two things are probably happening here. Certainly pitch of the flutesis increasing. Reduction of 'flat footsyndrome' is probably the other contributor.
On Body Scaling and Embouchure to Hole 1 length
During the period covered, 1820 to the end of the century, pitch rose dramatically, then dropped as British high pitch was abandoned (apart from by military bands) circa 1895. We saw that effect in the rapidly reducing lengths of the foot, above. We might also expect to see this as a significant shift in lengths of other parts of the flute, such as the distance between holes 1 and 6, and the distance between embouchure and the first hole. The data does not yield what we might expect.
In the graph below, the distance between the first and sixth hole is given in navy. While we might expect it to drop over the period and then recover somewhat at the end, it generally increases slightly. We'll come back to that.
We would expect the distance from embouchure to first hole to drop very markedly in order to accommodate the higher pitch towards the end of the period, but the data shows only a gentle drift of about 5mm downwards. On the old rule of thumb, 1mm per Hertz, that suggests only a 5Hz variation in pitch, while our other studies suggest a greater than 20 Hz variation occurred.
This can probably be explained easily - the very long tuning slides provided were already capable of covering the full range of pitches likely to be encountered, so there was no need to reduce the distance between embouchure and hole 1 when pitch rose - just push the slide in a little more. As we'll see later, the size of the embouchure hole increases too, which sharpens the flute considerably.
On hole size balance
But it's not so easy to explain away the slight increase in distance from hole 1 to hole 6 at a time when the pitch is rising and there should be a marked decrease. What else is going on?
Could Rudalls have used fingerhole sizing rather than fingerhole spacing to allow for increasing pitch? If so, we'd expect holes at the bottom of the flute, i.e. holes 5 and 6, F# and E to increase, or holes at the top, holes 1 and 2, C# and B, to decrease in diameter, or a bit of both. It turns out that all holes increase in diameter over the period, although it gets difficult to interpret as there are a mix of large and small hole flutes in the earlier days. To get around that problem, it's safer to look at the ratios of the hole sizes, rather than their absolute values. When we do that, in the graph below, we see that the bottom-of-tube holes increase considerably more than the top-of-tube holes.
In blues, we see the ratio of the diameters of hole 6 and hole 1. In reds, we see the ratio of holes 5 and 2. The rise over the period approaches 10%, more than enough to overcome the 2% or so increase in length and make a longer-bodied flute a sharper flute!
Impact of the shorter foot
But there's also something else that is going to sharpen the low notes of the flute as the century progresses - the shortening feet we saw up at 'On foot length'. 5 1 upmix torrents. The E note in particular (being produced from a very small hole) is very sensitive to how far away its nearest venting support is. That venting support will be Eb (if you open that when playing E) or the D hole (where the C# pad is) if you don't. Both of these move much closer to the E as the century proceeds. The combination of these various effects probably explain why the C#-E length had to be increased to prevent E going too sharp.
On embouchure size
We can see that the longitudinal length increased from around 11.5mm at the start to between 12 and 12.5 or so after about serial number 4411. The short axis seems to have generally remained between 10 and 11mm.
On Best Pitch
[Update: This section needs review in the light of other studies.]
By determining the best pitch of readily available flutes and scalinglengths,it is possible to estimate the design pitch of flutes in thestudy. This is the pitch for best intonation, not the highestpitch available by pushing the tuning slide fully in. It suggeststhat, in common with other 2nd generation instruments, they wereintended to work best at low and medium pitches (430 and 445) rather than highpitch (450-455) as is generally believed. Note the last twoflutes are radically different and follow the tuning of thirdgeneration flutes, which seems appropriate given their very latedates.
This picture is confused however by the issue of flat footedness, and morework is needed to work out what is really going on.
Coping with change
Now an interesting puzzle presents itself. If the finger holes don'tmove, yet the pitch of the instrument changes with the time, how is thatreconciled? As we've seen the foot gets shorter, but that won't have muchimpact on the body notes. The graph below gives us some clues ..
Firstly, focus on the flutes with an F# hole of about 8mm. Note thatthe B holes are about the same size. Note also that these flutes seem morepopular in the early part of the century.
Now turn to the large hole flutes and we note that the B hole is generally amm or so smaller than the F# hole. But look at 7120 and we see it is muchsmaller. What will this do?
Increasing holes at the top of the tube will sharpen the upper tube notes inrelationship to the notes lower down the tube. To find the best pitchagain, the slide will have to be compressed. As it has more effect on theupper tube notes, an extension will be found where the upper and lower tubenotes are once more in tune. That will be at a higher pitch thanbefore. The flute has been sharpened without recourse to shortening thebody. Some adjustment to the foot length will be required too.
On Bore profile
While the bore dimensions have not been made a formal part ofthis phase, some bore information is available. As observedpreviously, bore information may be needed to confirm the models.
In the graphs above, the vertical dimension (diameter) has beenwildly exaggerated. The vertical scale has been omitted toprotect the interests of the museums from which some of the datais taken. Of particular interest are the 'backreamings' at the two junctions between the upper and lowerbody and the footjoint. Since these had to be consciouslyreproduced on each instrument, we can assume the company regardedthem as significant. What result they produce or wereintended to produce is not clear but may be determined byexperiment.
[Update: Since the work done on the effects of thread wrapping (see elsewhere on this web site), it is now safe to assume that the bumps at the tenons of the flute bores shown are due largely if not entirely to compression of the bore by the combined action of humidity and thread compression.]
Note that the curve for # 7174 has been left incomplete aroundthe tenons of the upper body because of recent repairs tothose areas.
Note the great similarity between the bores of # 5047 and #5501. This is puzzling as the section lengths andfingerhole positions are nearly identical, but their fingerholesizes are very different. There remains a mystery to clearup here.
Note also the lengths of the bores which relate directly tothe estimated design pitch. The Norman flute is longest, with the 5000 seriesinstruments about the same, and 7120 the shortest.
On Inheritance and Cross-fertilisation
Serial Numbers Microsoft
An interesting question is to what extent the company reliedon the work of previous makers, and to what extent theirinstruments were copied by other makers, particularly those whohad been employees. Questions and answers appear togetherbelow:
Influence of previous work of Willis (TBD)
Influence of previous work of Rose (TBD)
Influence on Ingram
Borderlands pc save data download. Ingram was a former employee of Rudall & Rose. Examination of a flute made by Ingram indicated no sign ofinfluence by the company's designs.
Influence on Wylde (TBD)
Influence on other makers of the time
Comparisons of bore data indicate no points ofsimilarity with Metzler, Pratten's Perfected or B&S flutes.
Rudall, Carte & Co. catalog, September, 1922
The venerable firm of Rudall, Carte & Co. began as Rudall & Rose (1821–1852), became Rudall Rose Carte & Co. (1852–1871), and operated as Rudall, Carte & Co. past 1950. They offered a wide variety of flutes from the beginning, and were instrumental in manufacturing and promoting the Boehm flute and other cylindrical flutes in England.
Thanks to Joe Moir for providing a copy of this catalog. Scanned images of pages 1 and 4 through 8 may be found below. Pages 2 and 3 consist of 'General Remarks', which are of great interest, and these Remarks are reproduced as text below the thumbnails.
Rudall, Carte's offerings consist primarily of what they term Modern Flutes, by which they mean cylindrical bore flutes with 'parabolic' head joints. This includes: 'old system' flutes, Radcliff's Model, Guard's Model, Boehm's system, Rockstro's Model, Carte 1867 patent flutes. The 'old system' modern flute (almost an oxymoron) had 'some traces of the inherent defects of the old Flute' since the holes could not be put in 'their absolutely correct positions'. They also offer, on the very last page, 'Concert Flutes', including conical 8-key flutes.
Click on the thumbnails, or
click here to return to the Flute Catalog Excerpts index.
rc1.gif 18.28 KB | rc4.gif 41.82 KB | rc5.gif 40.02 KB |
rc6.gif 36.81 KB | rc7.gif 37.39 KB | rc8.gif 20.91 KB |
GENERAL REMARKS
Pages 2 and 3 of Rudall, Carte's List of Concert Flutes and Piccolos, from September, 1922
SOME explanation about the Flutes manufactured by Messrs. Rudall, Carte & Co., Ltd., may be useful to those who have no opportunity of seeing and examining them together.
There are two classes of Flutes; those with, the Conical, and those with the Cylindrical Bore. Up to the year 1847 all Flutes were made with the Conical Bore, excepting the Fife, which has now gone out of use.
In the Conical Flutes the head or top joint into which the performer blows has a cylindrical bore, and in the body and foot joints the bore becomes gradually smaller towards the end of the instrument. In the Cylindrical Flutes, on the contrary, the body and foot on which the keys are, are cylindrical, and the head joint tapers towards the top. The cone, in this case, is not a straight taper, but is slightly curved, forming a section of a parabolic curve. In the Conical Flutes there were many different bores employed, some large, some small, and varying in numberless particulars. It was from the manufacture of their Eight-Keyed Flutes that Messrs. Rudall & Rose, the predecessors of the present firm, first became celebrated as Flute Makers. The Old Conical Flute was distinguished for its sweet tone combined with considerable power, and it was a remarkably popular instrument in England. At the present day, when we compare it with those now used, it is difficult to account for the enthusiasm which it formerly inspired. Among the serious defects in it we may refer to the fact that the six holes covered by the first, second and third fingers of each hand had to be placed where they could be reached conveniently, and that, in consequence, their correct size and position had to be sacrificed, with the necessary results of incorrect tuning, and inequality in the tone of the different notes. The absence of a proper hole for C natural, too, necessitated the use of an artificial note, i.e. a C sharp made to sound flat by placing some of the fingers on the lower boles. The muffled note thus produced was a remnant of the old one- keyed German Flute, on which many of the notes were produced in this faulty way. The notes again, were not properly vented; the necessity of having the hole below the one giving the sound open, in order to make the tone free, not being then recognised.
The Fifes formerly used in the Army were made with a Cylindrical Bore throughout. It was found that larger Flutes could not be made in this way, and the Fife itself, years ago, gave place to small conical Flutes and Piccolos. It is curious that the Fife, which gave way to these conical small Flutes, should have contained in it the germ of that bore which eventually was to carry all before it. The modern Flute, as has before been stated, is a cylinder with a parabolic head-joint.
With the Cylindrical bore, which was patented by this firm in 1847 for England and France, and is now in universal use, were introduced other improvements of vast importance. Great efforts had been made immediately before this to remove some of the glaring defects of the instrument. Attempts had been made to facilitate the fingering, and, above all, to get the holes in their true places. It was only with the Cylinder, however, that the modern ideas were really developed and established, and that the great principle was realised that the holes must be put in their really correct positions first, and the means of covering them must be found afterwards.
The primary cause of the great success of the modem Flute is, that in consequence of the holes being in their theoretically correct positions, the tuning is, practically speaking, perfect, and the notes equal in quality and volume. With this happy union of theory and practice have been joined the singular beauty and variety of tone of the Cylinder bore, and the great faculties offered by the new systems of fingering. Combining, as it does, all these advantages, it cannot be a matter of surprise that the modem form of the instrument should have taken such a firm hold of the whole of the Flute-playing world.
The Cylindrical Flutes are made with several systems of fingering, but with the exception of that on the Old System, which retains to a certain extent some of the defects of the old flute, the tone and tuning in all of them may be considered equally perfect. One of the peculiarities of this bore is the ease with which the sound is produced; in this it contrasts very favourably with the Old Conical Flute, on which much skill was always requisite to produce at all a soft tone which was up to pitch, and was not feeble. The different systems of fingering are described under their separate headings.
Serial Numbers Rolex
The bodies of the Flutes are chiefly made of Silver, Wood, Ebonite or Gold. Which material is selected is purely a matter of taste, for each has its peculiar qualities. The Cylindrical Flutes were first made of silver, the tone of which is sweet and delicate. Flutes of this material have to be played with a looser lip than either those of the Wood or Ebonite, and this has led some to think them better suited to people who do not play much than those made of the two latter materials, as a firm lip is only to be kept up by practice. Cocus and Blackwood, owing to their durability and fitness generally for the purpose, have caused them to be very much used in the manufacture of Flutes, Clarinets and other instruments. The tone which it produces is rich and powerful, combined with a rounded quality so thoroughly characteristic of the Flute. Ebonite, a preparation of india-rubber, which has been used for some years in the manufacture of Flutes, is in some respects very similar to the Cocuswood. It has more resistance than Silver, but hardly so much as Cocus or Blackwood. The tone seems to have a slightly softened character, quite peculiar to the material. Ebonite never cracks in any climate. Gold, as a material for Flutes, has several distinctive peculiarities, which are very important. The tone is delicate, liquid and sympathetic in a high degree, and this goes hand in hand with much more resistance and greater richness than is found in Silver. Its remarkable qualities are due to the great density of the metal, to the closeness of each other of the particles which constitute it; this undoubtedly greatly influences the vibration.
There have been several theories put forward on the subject of the size of the holes, but it is now generally recognised by the Musical Profession, as the result of practical experience, that they should not be too large. One idea was that, as by opening a hole the tube is, practically speaking, temporarily cut off at that point, the hole should be made as large as possible, so as to produce the effect of cutting off thoroughly. Experience has shown, however, that this is undesirable, as the tone becomes wild and unmanageable. Another theory was that the instrument was in effect a set of open diapason Pandean Pipes combined in one tube, and that the holes should therefore become smaller the nearer they are to the embouchure. It was lost sight of, however, that as the bore remained the same, the Pandean Pipe theory must fall to the ground. It would be necessary to have a separate Flute, with a different bore for each note, to carry it out.
Software Serial Numbers
When these Flutes were first introduced they were made with what are called the small holes; since then, the large and medium sizes have been introduced. When the medium holes are used, it is found desirable to increase the size of the three lowest holes, but in order to preserve the balance they are not made too large. The late Mr. Clinton carried the size of these holes to an extreme, but they have not become popular. Practical experience must, after all, be the sure guide in these matters, and this has undoubtedly shown that, though the increase made in the size of the holes was a great stride in Flute-making, it does not do to carry it too far; there may, perhaps, be a gain of loudness close at hand, but there is, undoubtedly, a loss of quality and carrying power.