often used as the tenor voice. However, flutes varied greatly in size and range. This made transposition necessary, which led flautists to use Guidonian hexachords (used by singers and other musicians since their introduction in the 11th century) to transpose music more easily. During the 16th and early 17th centuries in Europe, the transverse flute was available in several sizes, in effect forming a consort in much the same way recorders and other instruments were used in consorts. At this stage, the transverse flute was usually made in one section (or two for the larger sizes) and had a cylindrical bore. As a result, this flute had a rather soft sound and was used primarily in the "soft consort". Traverso During the Baroque period, the transverse flute was redesigned. Now often called the traverso (from the Italian), it was made in three or four sections or joints (the head, upper-body, lower-body and foot joint). Additionally, the traverso was made with a conical bore from the head joint down. This conical bore design gave the flute a wider range and more penetrating sound without sacrificing the softer, expressive qualities. The head joint of the traverso contains one embouchure hole across which air is blown. Additionally, the two body pieces (upper-body and lower-body) each contain three equally sized finger holes. There is one key on the baroque flute and it is on the foot-joint. This key is usually made out of metal. The traverso was made with a variety of materials including various types of wood, most often boxwood, as well as ivory and metal. While very few flutes remain from the Renaissance and Medieval eras, many Baroque flutes have been preserved. In addition to the change of materials used to make baroque flutes, this era often led to a change in the role of the flute within the ensemble. During the Renaissance and Medieval eras, the flute was often only used in ensembles and group performances, however with the onset of the Baroque era, the traverso began to take on a role as a soloist. In the Baroque era, composers began to write more music for the flute such as operas, ballets, chamber music, and even solos. The first written work for the solo traverso was a piece written by Michael de la Barre entitled “Pièces pour la flute traversiere avec la basse-continue” in 1702. Other notable baroque flute composers include,