The low flute family–including the alto, bass, contralto, contrabass, subcontrabass, double contrabass, and hyperbass flutes–is experiencing an increase in instrument making, repertoire, and performance opportunities. With growing attention given to these instruments in solo, chamber, and orchestral settings, this treatise strives to examine the history and the teaching practices of low flutes. The instruments included in the discussion focus mainly on the alto, bass, and contrabass, with consideration given to the contralto, subcontrabass, double contrabass, and other bass flutes (i.e. bass in F). The testimonies and histories of professionals, past and present, are referenced in an effort to shed light on the development of alto and bass flutes, as well as other lower wind instruments. This includes recent innovations in flute design that occurred during the twenty-first century. To consider the teaching practices of low flutes, the following section of the treatise addresses the pedagogy of three prominent low flute players¬–Christine Potter, Paige Long, and Carla Rees. Through interviews conducted in 2022, information and detail is provided about their lives, first encounters with low flutes, and teaching emphases. The final chapter explores a pedagogical path of study, proposing possible courses for a graduate-level Specialized Program of Study in Low Flutes. Drawing from the information gathered in the interviews, my personal experience, and historical accounts, I propose a program and teaching materials with syllabi and outline course objectives that aim to advance low flute playing in solo and ensemble settings. Interested teachers and students may use this as a resource to understand the history of low flutes and reference pedagogical approaches for these instruments.