automatic translation,
may not be accurate
These baroque flute practice resources are designed to support daily traverso practice through real music.
They include warm-up exercises, articulation studies, intonation exercises, interval work, vocalises, rhetorical recitatives, and adaptations from Bach, Telemann, Quantz, Handel, Rameau, and many other historical sources.
Each exercise is created or adapted for the one-keyed baroque flute, with practical focus on sound, finger coordination, articulation, phrasing, breath control, and stylistic awareness.
Most materials can also be practised in multiple keys to improve intonation and explore the natural response of the traverso in different tonalities.
These resources are designed for baroque flute students, advanced amateurs, conservatory students preparing repertoire, professional players refining their daily warm-up routines, and teachers looking for practical repertoire-based exercises.
​Browse the pieces in the page below or click on one.
1. Thema Regium 2. Intervals from Telemann 3. Devienne's intervals 4. Quantz's pattern
5. Chromatics for flexibility 6. Vocalise from Johannes Passion 7. Prelude on sixths 8. Fredrick 39
9. Pepusch Prelude 10. Warm-up from Matthaeus Passion 11. Patterns from la Florentine 12. Arpeggios from the WTC
13. Intervals from Triosonata 14. Recitative from Johannes Passion 15. Another pattern from Solfeggi 16. 'Italian' Preludes
17. Vivaldi's cello sonata 18. Prelude BWV 543 19. Ode to St.Cecilia 20. Aria from Christmas Oratorio
21. Exercise from Nouvelle Methode 22. Exercise from Piecès de Clavecin 23. Exercise from Chorus BWV 248 24. Largo from Flute Concerto n.1
25. Exercise from Vivace BWV 114 26. Pattern from Solo Sonata H562 27. Exercise from Aria 'Flammende Rose' 28. Exercise from Minuetto
29. Exercise from 'The Rite of Spring' 30. Exercise from 'The Indian Queen’ 31. Exercise from Cantata BWV 8 32. Exercise from Arioso TWV 6:8
33. Exercise from Christmas Oratorio 34. Allegro from The Art of Playing on the Violin 35. Presto from La Carnaval de Venise 36. Andante Arioso from Sonata TWV 40:1
37. Exercise from Fugue BWV 565 38. Largo from Triosonata op.8 no.1 39. Exercise from Rondeau 'Les Charités' 40. Exercise from 'Solfeggietto'
41. Exercise from L'Aurore, Mercure et les Muses 42. 2nd Exercise from ​Fugue BWV 565 43. Exercise from Adagio TWV43:D4 44. Exercise from Prelude BWV 846
45. Exercise from Aria BWV 180 46. Exercise from Aria HWV 8a 47. Exercise from Chor BWV 245 48. Exercise from Bolero
49. Exercise from Largo op.4

Exercise from Largo op.4

Practice intonation, register balance, articulation, and expressive phrasing through Corelli’s Largo. This traverso adaptation combines both violin parts into a single flute line, helping players develop harmonic awareness, interval control, and a singing Baroque style. Try imagining the original conversation between the two violins and recreate it within the single melodic line through subtle changes of colour, articulation, dynamics, and phrase direction. Especially useful for daily work on listening, breath control, and smooth transitions between registers.
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and more to come...

Exercise from Chor BWV 245

A short exercise adapted from a Bach chor in St. John's Passion, designed to develop rhythmic clarity, finger coordination, and harmonic awareness on the traverso. Practise slowly first to stabilise fingering patterns, especially in flat keys where cross-fingerings increase resistance. Use light, even articulation and keep the alternation between scalar, broken, and repeated-note figures clearly defined. Aim for continuous airflow and a clear sense of direction across longer phrases.
traverso_practice_net_47.pdf
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Exercise from Bolero

A simple but highly effective traverso warm-up based on Boléro by Maurice Ravel. This baroque flute practice exercise is designed to improve intonation, embouchure balance, air control, and smooth register connection through one continuous melodic line. Play it first as legato as possible, focusing on steady airflow, soft finger movement, and phrase continuity. Then repeat it with different articulations and in several keys to explore tonal colour, pitch tendencies, and the specific response of the traverso in each tonality. 
traverso_practice_net_48.pdf
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Exercise from Aria BWV 180

This exercise comes from the tenor aria of Cantata BWV 180 by ​Johann Sebastian Bach.
It helps reconnect sound, breath, and fingers through a calm, flowing melodic line. Practise at a relaxed tempo with steady air and an even tone. Once the line feels comfortable, use the exercise to explore different articulations, always keeping the musical flow clear and natural. Let the harmony suggest breathing points and gentle shaping of the phrase.
traverso_practice_net_45.pdf
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Exercise from Aria HWV 8a

This exercise derives from the opening of Handel’s aria Augelletti (Il Pastor Fido), written as a unison line without continuo. Because the melody stands alone, practise hearing the implied harmony internally. Begin slowly to stabilise tone and intonation. Keep clear rhythmic definition in the alternation of triplet, binary, and dotted figures. Finally practise once with a tonic (and then dominant) drone and once completely alone to test internal harmonic hearing.
traverso_practice_net_46.pdf
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Exercise from Adagio TWV43:D4

This adaptation of Telemann’s Adagio (from the Sonata a 4 in D major, TWV 43:D4) for solo traverso offers a focused study in tone balance and control. Wide leaps across registers challenge air support and intonation, while long phrases encourage careful breath planning. The slow tempo allows refinement of legato, delicate articulation, and evenness of tone, particularly in the low register. Ideal for rebuilding sound quality after a pause.
traverso_practice_net_43_.pdf
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Exercise from Prelude BWV 846

Adapted from Bach’s Prelude BWV 846 (Well Tempered Clavier), this exercise develops balance through arpeggios and wide leaps, improving tone connection and control across registers. Focus on steady airflow and light fingers; let phrasing follow the harmonic flow rather than the bar line. Ideal for warm-ups in multiple keys, this study reinforces both intonation and harmonic awareness. Use it as a daily “Bach meditation” — a refreshing way to align breath, tone, and musical imagination.
traverso_practice_net_44.pdf
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Exercise from Ouverture

Drawn from the lively and expressive fugato in the Overture of Nicolas Bernier’s L’Aurore, Mercure et les Muses, this exercise targets clean articulation, control of dynamics, and precise intonation in its flowing lines and quick pacing.  [Ideal for refining agility, balance, and expressive nuance in your daily warm-up.] Start slowly to focus on finger coordination and intonation, then gradually increase tempo while maintaining elegance and clarity.​
audio example
traverso_practice_net_41.pdf
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2nd Exercise from ​Fugue BWV 565

Here comes Part 2 of Bach's Fugue in d minor. This one dives deep into arpeggios in motion, wide leaps across the flute’s register, intonation challenges, air flow, articulation and phrasing clarity in fast-moving lines.
Once you’ve got the notes under your fingers, spice it up rhythmically, not  only to build muscle memory and confidence, but also enhance your intonation awareness and technical flexibility.
traverso_practice_net_42.pdf
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Exercise from Rondeau 'Les Charités'

Adapted from Boismortier’s 'Les Charités', Op. 35, this Rondeau—marked 'gracieusement'—captures the elegance and poise of the mythological Graces. Its transparent harmonic structure, arpeggios, and wide leaps offer an ideal study in breath and finger coordination, embouchure stability, and tuning across the flute’s naturally uneven scale. Beginning with a simplified version, and at a slow tempo, allows players to internalize harmonic motion, anticipate cadences, and shape phrases with intention. 
traverso_practice_net_39.pdf
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Exercise from Solfeggietto

Inspired by C.P.E. Bach’s Solfeggietto, this lively, monophonic keyboard piece is reimagined for baroque flute as an engaging warm-up or technical etude.
It targets core skills: mastering arpeggios for coordination and agility (work on coordination and agility); refining leaps and intonation across registers (land on notes cleanly and in tune); sharpening rhythmic precision (with metronome work); and exploring articulation through varied tonguing and slurring.
traverso_practice_net_40.pdf
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Exercise from ​Fugue BWV 565

This exercise, inspired by J.S. Bach's Fugue in D minor, is designed to help loosen up both your fingers and tongue, serving as a dynamic warm-up routine. By tackling Bach’s intricate counterpoint, you not only develop technical dexterity and tone balance through wide jumps, but also explore and experiment with the expressive potential of different articulations and phrasings.
​Try it also at he most different tempos.
traverso_practice_net_37.pdf
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Largo from Triosonata

This practice piece adapts the second flute part from J.D. Braun's Trio Sonata Op.8 No.1 (1738), offering a chance to explore the flute as a bass-like, supportive harmonic role rather than a purely melodic one, with proper phrasing and articulation. It focuses on wide interval leaps, coordination, pitch accuracy, and phrasing in a continuo mindset. Practice slowly at first, possibly legato, listening for resonance and center in each note. Let the leaps feel like expressive gestures.
traverso_practice_net_38.pdf
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Presto from La Carnaval de Venise

André Campra’s Le Carnaval de Venise, composed in 1699, is a lively opera-ballet that joyfully blends French and Italian styles with  a commedia dell’arte plot and an opera within the opera (Orfeo nell’Inferi).  This exercise  is a fun and effective agility warm-up, incorporating scales, ornaments, varied articulations, and lively rhythmic patterns typical of the French Baroque style, all while reinforcing your practice of the natural bar hierarchy in ternary tempos.
traverso_practice_net_35.pdf
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Andante Arioso from TWV 40:1

This exercise is based on  Telemann’s Andante Arioso from the Sonata for Viola da Gamba included in the Der Getreue Music-Meister collection.
Key focus areas: 1. Adjustments in embouchure and breath control to correct intonation, particularly in chromatic passages;  2. Long, sustained lines need well- placed breaths that maintain musical flow; 3. Subtle variations in articulation, tone color, and dynamics will enhance contrast and depth; 4. Experimenting with ornamentation to add your own personal touch.
traverso_practice_net_36.pdf
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Exercise from Christmas Oratorio

For this exercise, I’ve borrowed inspiration from the magnificent trumpet and oboe parts in J.S. Bach's Chorale "Nun seid ihr wohl gerochen", trying to capture their brilliance to convey the sense of triumph in the text. At the same time, it’s an excellent opportunity to tackle agile passages filled with scales and leaps! This is also the perfect way to reawaken your embouchure, tongue, and fingers - especially if your traverso has been resting a bit during the holiday break - all while having fun.
traverso_practice_net_33.pdf
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Allegro-The Art of Playing the Violin

Geminiani's "The Art of Playing on the Violin" (1751) is a renowned compendium of the 18th-century Italian method of violin playing, and it serves as an invaluable resource for the study of late Baroque performance practice. 
​I experimented with this allegro, as a great why to practice all sorts of different articulations on typical baroque patterns, with the addition of some interesting intervals that can help to perfect the balance between registers.
traverso_practice_net_34.pdf
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Exercise from Cantata BWV 8

The exercise draws inspiration from a flowing and joyful bass aria of this Bach Cantata. While it's challenging— with intricate rhythmic patterns, wide leaps, and chromatic sequences — it can also offer a rewarding and enjoyable practice experience.  Start at a comfortable tempo, take your time to explore the expressive nuances and tackle the technical challenges, and let it wake up those fingers (while always checking your intonation!).
traverso_practice_net_31.pdf
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Exercise from Arioso TWV 6:8

This exercise is from the gamba solo in the tenor aria “A new palm wraps my hair” in Telemann’s final oratorio 'Der Tag des Gerichts', a masterwork composed in 1762 when Telemann was 82. Its gentle Andante tempo and flowing lines help you find the right balance over different intervals across the flute's registers, refine articulation, and get a chance to experiment with phrasing, dynamic control, and breath support in a way that aligns beautifully with baroque expression.
traverso_practice_net_32.pdf
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Exercise from 'The Rite of Spring'

For once, and very unorthodoxically, this warm up is taken from a mesmerizing early 20th century melody by Igor Stravinsky.
It works so well for polishing tone quality, intonation, and phrasing; it even gives me a thoughtful and inspired start with the instrument itself…and it does sound so good!
The articulation is the orginal one, but you can explore different ways.
traverso_practice_net_29.pdf
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Exercise from 'The Indian Queen'

This exercise, inspired by Purcell's aria, may be generally great for practicing articulation, particularly to experiment with different types of note attacks and endings. The wide leaps may be also very useful for controlling air emission, balancing sound, and adjusting intonation. 
​Start at a moderate tempo, focusing initially on playing groups of  just  two notes at a time  - a 16th note followed by the dotted 8th - and then gradually increasing the speed as you gain control.
traverso_practice_net_30.pdf
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Exercise from Aria 'Flammende Rose'

This exercise was inspired by the final Aria of Handel's Nine German Arias.
​It is based on the solo instrument's opening and is all a game of intricate rhythms and lively jumps, serving as a useful tool to practice releasing finger tension in tricky passages and maintaining balance in phrasing and intonation across registers.
Start at a comfortable pace to properly work out the issues and then simply let it go to appreciate its brilliance.
traverso_practice_net_27.pdf
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Exercise from Minuetto

This exercise was inspired by Blochwitz's Minuetto in e minor, included in Quantz's and Braun's collections.
I find it very useful to equalize the registers and check intonation when warming-up.
It may be beneficial to try different articulations of the arpeggios, in addition to the original one that is proposed here.
It can also be played at a very slow tempo and used as a vocalise.
traverso_practice_net_28.pdf
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Exercise from Vivace BWV 114

The Vivace from J.S. Bach's Cantata BWV 114, which inspired this exercise, conveys Christians' assurance in always being able to rest in "Jesus' fatherly hands". This exercise challenges your finger dexterity and multidimensional articulation, while you make sure to maintain accurate intonation and tone balance through the daring jumps. 
Remember to start slow enough to get everything in order, especially in the most challenging keys, before moving to a faster tempo.
traverso_practice_net_25.pdf
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Pattern from Solo Sonata H562

A great exercise from C.P.E. Bach's solo Sonata, to improve your register balance, while paying close attention to intonation in chromatic passages, and work on challenging leaps, broken chords and arpeggios.
You can explore it from various angles, for instance experimenting with different tempos, even very slow, to capture all the possible nuances and emphasize the benefits.
traverso_practice_net_26.pdf
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Exercise from Chorus BWV 248

In the first joyful chorus of Bach's Christmas Oratorio BWV 248, there's an oasis of peacefulness, with flutes providing the most expressive color to enhance the overall celestial atmosphere. To capture the original mood, you can play this piece at a moderate speed and with a soft, yet full staccato. Alternatively, use it as a vocalise, playing slower with a smoother, legato feel to refine emission, intonation, and register balance.
traverso_practice_net_23.pdf
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Largo from Flute Concerto n.1

Jacques-Christophe Naudot was a very active flutist in the Masonic circles in Paris during the first half of 18th century, and his concertos reveal his mastery of the Italian concerto style and advanced flute technique.
This dreamy and expressive Largo (published in 1735) is great way to practice tone balance through extended arpeggios, and explore phrasing with different articulation nuances.
traverso_practice_net_24.pdf
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Exercise from Nouvelle Methode

The inspiration comes from an articulation exercise in Mahaut's Nouvelle Methode of 1759.
​I find this exercise extremely useful for a combined warm-up of fingers, tongue, breathing and intonation, considering its relentless jumps in a flowing phrasing of triplets.
​Play at a speed that keeps you confident and in control.
traverso_practice_net_21.pdf
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Exercise from Piecès de Clavecin

This playful piece comes from the first double of Rameau's Les Niais de Sologne.
With its intriate leaps, this piece offers a fantastic exercise for warming up fingers, coordinating tongue articulation, and refining intonation, all in one go.
Again, start with a manageable tempo, and as you become more confident, you'll discover the sheer joy of gradually increasing the speed.
traverso_practice_net_22.pdf
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Ode to St.Cecilia

‘The soft complaining flute
In dying notes discovers
The woes of hopeless lovers…’
With your choice of articulation, dynamics and tempo, you should try to obtain a soft phrasing that conveys the essential feeling of the text of this air, possibly exploring the nuances through the different keys.
traverso_practice_net_19.pdf
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Aria from ​Christmas Oratorio

This exercise was inspired by the bass Aria from the first part of Bach's Christmas Oratorio "Great Lord, O strong king", which consists of a dialogue between the singer on one side, and the trumpet and the orchestra on the other side. It is designed to enhance proficiency in wide arpeggios, explore diverse intervals, experiment with various tempos and articulations, …and to have fun.
traverso_practice_net_20.pdf
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Vivaldi's cello sonata

I recently tried playing this refreshing Allegro for cello to warm-up, to tackle its sequence of extreme intervals, and it's like a workout for your tone quality and intonation skills.
Here I kept the original articulation marks for cello, but you can get creative and add your own variations to work on your tonguing technique.
traverso_practice_net_17.pdf
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Prelude BWV 543

​I was literally mesmerized by this exquisite prelude by JS Bach, such an intimate and evocative piece.
When rendered on the baroque flute, this composition becomes a demanding exercise, beckoning us to navigate its chromatic passages and daring leaps, all while placing your tone and intonation to the ultimate test. 
traverso_practice_net_18.pdf
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Another pattern from Solfeggi

This is a quick exercise, again taken from Quantz Solfeggi, which I often use in my warm-ups.
It combines quite a few key elements that may be useful to practice, such as intervals, arpeggios and scales, all in different keys.
You can also try to experiment all sorts of articulation types.
traverso_practice_net_15.pdf
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'Italian' Preludes

These series of very short preludes from Michel Corrette's method (1738), titled "Leçons de Violon pour apprender a joüer dans le goût Italien", presented here again in different keys to appreciate the nuances of traverso, is a fun way to get his view of the Italian taste, and try out your ornamentation skills.
traverso_practice_net_16.pdf
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Intervals from Triosonata

I recently had the opportunity to study this beautiful piece, composed by Quantz for recorder, traverso and continuo (in C major, QV 2:Anh.3).
I find it particularly suitable, as evocative as it is, to study intervals with varied phrasing and articulation, and it's real fun, and challenging, when you push the speed to a limit.
​
tpn13.pdf
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Recitative from Johannes Passion

While playing this recitative, try to maintain a flexible, speech-like sense of tempo, allowing the music to breathe naturally, focus on conveying the emotions and narrative through the music, understand the nuances of the words and phrases, and let them guide your interpretation. Also feel free to add variations in dynamics, articulation and ornaments to emphasize the meaning and emotion of the text.
A quick note: I have inserted double slash signs as an indication of further suspensions of the phrases.
tpn14.pdf
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Patterns from la Florentine

Michel Pignolet (de Monteclair) was a busy French composer, teacher, and music theorist, and played the basse de violon in the Paris Opera at the turn of the 18th century.
This delicate and gay piece of his is part of a collection of flute Concertos that was meant to cover both the French and the Italian styles.
I find it very useful to ignite and practice my finger agility with this, on a number of typical phrases and intervals.
tpn11.pdf
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Arpeggios from the WTC

​I was inspired for this exercise on arpeggios by Prelude n.3 of JS Bach's Well Tempered Clavier.
Depending on the tempo I use, I discover different benefits. If played very slow it's a good vocalise for register balance and intonation, and then, with increasing speed, it becomes a great warm-up to try different articulations, and finally quite a workout for finger agility.
tpn12.pdf
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Pepusch Prelude

At the very beginning of the 1700's, the publisher John Walsh collected a series of preludes for violin, that basically represented the state of the instrument at that time, and included a couple of pieces by Pepusch. 
This prelude of his sounds great on the baroque flute too, and may be useful for practicing different intervals and typical patterns of the period, and improve finger agility, while trying out different possible articulations.
tpn09.pdf
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Warm-up from Matthaeus Passion

As JS Bach's work around Easter is so extensive, and mystical, I couldn't help to include in my daily practice the meditative and peaceful recitative 'You, dear saviour'  from Matthäus Passion.
I find it extremely useful,
first of all for general relaxation of the body/ instrument arrangement, then to work on intonation and register balance, particularly when played in different keys, and practice a 3-1 articulation.
tpn10.pdf
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Prelude on sixths

This prelude is adapted from Michel Corrette's 'Method for easily learning to play on the Transverse Flute' (1740). As simple as it looks, it can help to equalize the registers using intervals of sixths. 
It should be played as legato as possible, strictly following the dynamics indications, but to start with, one can slightly articulate between one note and the other.​
tpn07.pdf
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Fredrick 39

Around mid-18th century, Fredrick the Great collected, with the help of Mr Quantz, a significant set of exercises that was much later published as the "Flötenbuch Friedrichs des Großen" or "100 daily exercises for the flute". 
I use this exercise as a multipurpose warmup, with various articulations, to practice jumps and arpeggios, in different keys, as was Fredrick's custom.​
tpn08.pdf
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Chromatics for flexibility

This exercise includes some peculiar chromatics phrases, that I use during warmup to balance tone quality, intonation and fingerings. They can be practiced very slow and then with increasing speed, and slurred or with different types of articulation.
In any case, it is advisable to play this with a slight accent on the first note of each 6-note group, not to lose the rythmic sense.
tpn05.pdf
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Vocalise from Johannes Passion

I find vocalises extremely helpful during warm up for tone balance, intonation, and finger adjustment, and I was looking for something that would be musically pleasant and still representative of baroque style.
I finally settled on this extract of the beautiful "Ruht wohl" choir from JS Bach's Johannes Passion, which I suitably, and humbly, adapted to be played in different keys. This can be played from extremely slow up to about 80 bpm.
tpn06.pdf
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Devienne's intervals

Although published in late 18th century, Devienne's method is a great source of technical exercises for the one-keyed flute
Here is an interesting exercise, originally presented for practicing rests, that has been adapted to also be very helpful when studying intervals for a good tone and register balance, still making use of an elegant melody. It can be played at different tempos, from very slow to fast, and with different articulations.
tpn03.pdf
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Quantz's pattern

Quantz's Solfeggi are a huge source of exercises on a number of real baroque music practice elements and challenges. Playing intervals is one of them. Why not play them in different keys, to explore their technical and intonation peculiarities.

Here is a good example that I use for my daily warm-up.
tpn04.pdf
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Thema Regium

Thema Regium of JS Bach’s Musical Offering is such an inspiring and charming masterpiece, and a great way to start the practice day. 
I find it’s a great warm-up to settle the tone and check intonation.
I also transposed the theme in various keys to appreciate the various nuances in them.
​
tpn01.pdf
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Intervals from Telemann

​Besides being an all time masterpiece, Telemann's flute Fantasias are a direct source of typical baroque music passages on the flute, that can be practiced in various keys to improve both technique and intonation, while experimenting different articulations.
Here you can find an exercise for intervals that comes straight from the Fantasias.
tpn02_.pdf
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A Few Practical Questions
​
How can I best use these exercises?
The most effective way is to treat them as small practice laboratories built from real music. Instead of repeating them mechanically, focus on one specific goal at a time—intonation, articulation, sound, phrasing, or breath control—and connect that work directly to the repertoire you are studying.
How can I improve intonation on baroque flute?
Practice in multiple keys, interval work, and slow register balancing exercises help develop stable intonation and a clearer awareness of pitch tendencies on the traverso. Working from real musical patterns makes this process far more practical and reliable.
What are good articulation exercises for traverso?
Exercises based on real repertoire—especially from Bach, Telemann, Quantz, Handel, and Rameau—help develop tonguing, clarity, and stylistic articulation much more effectively than isolated drills, because articulation always belongs to musical gesture and rhetoric.
Is practising in different keys really useful?
Yes — changing keys improves intonation, reveals the natural response of the one-keyed flute, and helps build flexibility across the instrument. It also teaches you to hear tonal colour differently, not only to play notes more accurately.
Should I start practising these exercises in the easier keys first?
Yes — beginning with more comfortable keys such as D major, G major, and E minor helps establish sound, intonation, and finger coordination more naturally on the traverso. Once the musical idea feels stable, gradually moving to more challenging keys allows you to develop flexibility, pitch awareness, and a deeper understanding of the instrument’s different tonal colours.