A Tidbit on Traverso Trills & Trill Fingerings

I got a question regarding whether I can give any tips regarding awkward trills and trill fingerings. My thoughts:

- If you look up some baroque flute trill fingerings and wonder why some of them sound wide, it's because they were meant to be that way. They sound out of tune to our present-day ears, but for the players and listeners back then, this was an expressive aesthetic. A classic example is the F#-E trill, where you finger F# (xxx xoo o) and then trill with the right index finger and with the key closed (so finger off): xxx Txo x

- There are a few more trills that are meant to be played this way. Keep in mind that things were a bit less standardized than today - musical tastes change and there were always some varied opinions about whether the key should be on or off for a fingering. Coming from the modern flute, I do tend to put my finger on the key as long as it doesn't really affect intonation greatly. E (1st and 2nd octave) is no key for me, but I do use the key for notes like G or A for better balance between the hands.

- The comprehensive book by Margaret Neuhaus "The Baroque Flute Fingering Book" is unfortunately no longer in print. This is an amazing side-by-side compilation of 18th-century fingering and trill charts. You may try to find it used, or there are various websites or resources out there that give similar information.

- Always shape trills, the diminuendo or backing off with the air is especially important. This will also take some edge off of the wide trills. Whether in a brilliant or sweet passage, trills should always sound effortless and letting go of the air is what will make the biggest difference. Don't feel like you need to fill the entire note value with as many notes as you can possibly squeeze in. Often in practice, two "twiddles" are enough. If it's a trill over a relatively long note, it's always good to incorporate a so-called messa di voce, which is a swelling and diminuendo in sound. You may also want to start the trill slower and then accelerate. With some practice in this way, trills will sound more refined, even the wide ones. They should be light, ornamental, but nevertheless highly expressive.