The transverse flute in its many shapes and sizes is one of the most universal of instruments. But its manifestations have an immense variety of uses and particularities. I’ve chosen to spend my artistic life exploring the potentials of three of these: the “standard” Boehm concert flute in C, heard largely in orchestras but with a substantial repertory of solo and chamber literature; the baroque “flauto traverso,” or one-key flute for which J.S. Bach and other baroque composers wrote so much glorious music; and the north Indian keyless bamboo bansuri, which lets one explore the intricacies of raga music in a way that no keyed instrument possibly can. Of these three, there is no way I could say any one is my “favorite.” Each has its own unique capabilities and I am lucky in one lifetime to have gotten the training to play all of them and then to perform on them in appropriate contexts. In that regard, gratitude to my flute teachers, including Emil Eck, Walfrid Kujala, Julius Baker, Devendra Murdeshwar and David Hart, is unbounded.