The transverse flute of the Renaissance and early Baroque periods was built without keys and featured a narrow, cylindrical bore with a slightly conical shape on the outside. Treble and tenor flutes were made from a single piece of metal, while bass flutes consisted of two parts joined below the embouchure hole and stabilized by a narrow metal ring. This simple and elegant flute combines outward beauty with a hidden depth. Instrument makers of that era created flutes whose timbre and intonation could be flexibly adjusted.
As early as 1533, Pierre Attaingnant published collections of works for four transverse or recorder flutes, including compositions by renowned artists of the time. At that time, the flute was often used in conjunction with other instruments and voice, resulting in a diverse repertoire. Martin Agricola's 'Musica instrumentalis deudsch' was an important source for transverse flute transcriptions.
Although no distinct flute music existed in 16th-century Italy, the instrument was mentioned in theoretical writings. In the 17th century, Giovanni Battista Riccio published canzonas for recorder suitable for various instrumental ensembles. Jacob van Eyck's collection of melodies from the 1640s also addressed different types of flutes.
The cylindrical flute remained in use until the late 17th century, before the Baroque flute emerged. This new flute differed significantly from its predecessor: it possessed a darker tone and technical innovations that facilitated playing. The artistic consequences of this development were particularly evident in 17th-century French music.