My name is Francesco Belfiore, and I am passionate about baroque music.
Coming from many years of modern flute, when I started to have more time to dedicate to the baroque instrument, I wanted to take advantage and organize my practice in order to expand and improve my playing.
Searching the many available sources I found a number of methods for learning baroque flute, from the period or modern, but very little related to HOW to practice!
Actually, there is a lot on flute practice routines, almost entirely specific to modern flute. Although there are common basics and many similarities, Baroque flute is a different instrument, with its own physical feel, technical issues and musical language. I felt I needed something more specific to really make the best use of my time with the traverso!
Therefore, I started to collect pieces, studies, exercises that could help to improve my playing through the daily practice, selecting and adapting them to the baroque flute setting.
Then I extracted typical passages from baroque pieces to have a sort of library of training tools, a bit like in Quantz’s Solfeggi.
Next, I found very useful to have them transposed in different keys, to appreciate the nuances of different tonalities on a fundamentally diatonic instrument, identify and practice with problematic finger passages and become familiar with the music itself.
In the end, I spoke with a few baroque flutists about these ideas, and they really spurred me to grow this library, and possibly share with other people that could benefit from this kind of resources. 
They also expressed the need to have a sharing platform on learning practices for the baroque flute, and also to collect their views on this matter. 
That’s why a key part of this website consists of interviews and contributions from them, and I am so grateful that many great performers and teachers of baroque flute found this idea worthwhile to take part in. 
Finally, a big thanks to all the special musicians that have been so kind, in this long and never ending path of mine, to share with me bits of their extensive knowledge around this magnificent instrument and its music. 
Let me also express my deep gratitude to my first traverso teacher, Laura Pontecorvo, who, with great patience and enlightenment, has inspired and introduced me to the complexities, wonders and pleasures of this instrument.