"This translation is a valuable resource for any wind player, musician or interested reader. We are indebted to Ardal Powell." Jean Kershaw, Early Music Newsletter

• Translator's note; Introduction; Foreword; 1. The flute and its character; 2. Holding the flute, and the embouchure; 3. Fingering; 4. The notes and rests, their values and denominations, and the other musical signs; 5. Time-signatures, and how the notes are divided and counted in them; the beat itself, or counting time according to an appointed tempo; 6. Tone and pure intonation; 7. Modern key-signatures; 8. The articulation proper to this instrument, or the means of governing the wind suitably, as well in slow as in moderately quick movements; also called the single tongue; 9. The technique for executing fast and very fast passages clearly and roundly; also, though improperly, called the double-tongue; 10. The ornaments; 11. The trill; 12. Fermatas and cadenzas; 13. The taking of breath in flute-playing; 14. The discretionary ornaments; or how to vary a simple melody according to the rules of harmony, and to use these variations in a good and suitable way appropriate to the material; 15. Summary of the whole, together with a few remarks for pupils and masters.

"This translation is a valuable resource for any wind player, musician or interested reader. We are indebted to Ardal Powell." Jean Kershaw, Early Music Newsletter

• Translator's note; Introduction; Foreword; 1. The flute and its character; 2. Holding the flute, and the embouchure; 3. Fingering; 4. The notes and rests, their values and denominations, and the other musical signs; 5. Time-signatures, and how the notes are divided and counted in them; the beat itself, or counting time according to an appointed tempo; 6. Tone and pure intonation; 7. Modern key-signatures; 8. The articulation proper to this instrument, or the means of governing the wind suitably, as well in slow as in moderately quick movements; also called the single tongue; 9. The technique for executing fast and very fast passages clearly and roundly; also, though improperly, called the double-tongue; 10. The ornaments; 11. The trill; 12. Fermatas and cadenzas; 13. The taking of breath in flute-playing; 14. The discretionary ornaments; or how to vary a simple melody according to the rules of harmony, and to use these variations in a good and suitable way appropriate to the material; 15. Summary of the whole, together with a few remarks for pupils and masters.