the B to C trill, but it also allows some trills and tremolos that are otherwise very difficult, such as high G to high A. Another way of trilling G6–A6 is a dedicated high G–A trill key. D roller Some models offer a D roller option, or even an optional pair of parallel rollers on the D and C keys, that ease motion of the right little finger on, for example, low C to D. Soldered tone holes Tone-holes may be either drawn (by pulling the tube material outwards) or soldered (cutting a hole in the tube and soldering an extra ring of material on). Soldered tone-holes are thought by some to improve tone, but generally cost more. Scale and pitch The standard pitch has varied widely over history, and this has affected how flutes are made. Although the standard concert pitch today is A4 = 440 Hz, many manufacturers optimize the tone hole size/spacings for higher pitch options such as A4 = 442 Hz or A4 = 444 Hz. (As noted above, adjustments to the pitch of one note, usually the A4 fingering, can be made by moving the headjoint in and out of the headjoint tenon, but the point here is that the mechanical relationship of A4 to all other pitches is set when the tone holes are cut. However, small deviations from the objective 'mechanical' pitch (which is related to acoustic impedance of a given fingering) can be improvised by embouchure adjustments.) Composition Classical music An early version of Antonio Vivaldi's La tempesta di mare flute concerto was possibly written around 1713–1716, and would thus have been the first concerto for the instrument, as well as the earliest scoring of a high F6, a problematic note for the Baroque flute of that period. Pop, jazz, and rock Flutes were rarely used in early jazz. Drummer and bandleader Chick Webb was among the first to use flutes in jazz, beginning in the late 1930s. Frank Wess was among the first noteworthy flautists in jazz, in the 1940s. Since Theobald Boehm's fingering is used in saxophones as well as in concert flutes, many flute players "double" on saxophone for jazz and small ensembles and vice versa. Since 1950, a number of notable performers have used flutes in jazz. Frank Foster and Frank Wess (Basie band), Jerome Richardson (Jones/Lewis big band) and Lew Tabackin (Akiyoshi/Tabackin big band) used flutes in