The Traverso: My Baroque Flute Journey

Resident Flutist Blog by Khoi Dinh 

I’ve always enjoyed listening to Baroque music, especially the works of J.S. Bach, who wrote so much beautiful music for the flute. I was particularly fascinated by how Baroque music, despite sometimes being simple and transparent in its scoring, can leave so much room for expression, interpretation, and even improvisation.

Like many flutists, I enjoyed playing baroque music on my modern Haynes flute, and that's what I continued to do until I started my masters at Juilliard. At Juilliard, I had the opportunity to take traverso lessons in addition to my regular flute lessons with my wonderful teacher Sandra Miller. Initially, it was difficult to get used to the traverso's light weight, intonation, and fingerings. Even though it is an earlier version of the flute we know today, it felt like an entirely different instrument. In particular, it was challenging to adjust to not blowing as much air as I was used to with my modern flute. I found the traverso responded much better when I stopped fighting it, relaxed, and relied on the resonance within my own body to achieve a larger sound. After a few months of getting used to these differences, I started to enjoy the earthy, more hollow sound of the traverso and began to tackle longer pieces.

I started with Blavet's "L'Henriette" sonata (No. 1, Op. 2) in G major, which is an easier key for the traverso. After about another year of study, I decided to take on the challenge of playing traverso at my Masters Flute graduation recital. Practicing both instruments, especially switching back and forth, was initially overwhelming, but I truly enjoyed the process of preparing a program that showcased the breadth of both instruments. For the recital, I performed CPE Bach's Trio Sonata in D Major Wq. 83, which also features the Baroque violin, cello, and harpsichord. Playing a chamber music piece on the traverso was a big milestone in my baroque flute journey—and definitely a memory I'll cherish forever.

To culminate my studies, I had the chance to tour the United Kingdom with Juilliard 415, the school's period-instrument orchestra. Performing Bach's B minor Mass abroad in huge cathedrals that were around when Bach was alive immersed me in the grandeur and density of this work. This was the perfect culmination to my traverso studies; I was able to experience a more soloistic role in the orchestra than is typical with later romantic/classical works. In movements such as Benedictus, Qui Tollis, and Domine Deus, the traverso was often featured with just a few solo voice parts. 

Even though most of my engagements these days are on the modern flute, my traverso studies continually influence my performance decisions. Historical performance gave me a deeper understanding of phrasing, harmony, agogic, and articulation. 

At Flute Center, many clients are enthusiastic about the traverso. Some encounter the instrument for the first time here while others are seasoned players. For those who are just starting out, I’ve compiled a list of pointers and tips:

1. Always check if the tenons are too tight or too loose! - Because the entire instrument is wood, the tenons can expand and contract depending on the weather as well as the frequency at which the instrument is being played. This means that the amount of thread around the tenons is to be frequently adjusted. It should feel snug but not too tight as it will get tighter after some playing. To add thread, simply wind some around the tenon and tie a small knot or rub some vaseline on it to make it stick.

2. Specific notes on the traverso will sound more “hollow” or have drastic intonation tendencies compared to others (i.e. F natural, G sharp). Even though this may be uncomfortable at first, I’ve learned that it’s better to not blow harder/force the sound on these notes and instead simply create more space in my mouth and relax my body in order to give them some extra resonance.

3. I would recommend starting out with a piece in G or D major as these are very comfortable keys when transitioning to traverso fingerings. The fingerings of these keys are similar enough to the fingerings to the modern flute as to allow for a steady introduction to the traverso.

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