[5] Octaving is achieved on the csakan in the same manner as the recorder, that is by partially opening the thumb hole to allow it to act as a register vent.

There were a handful of professional players, most notably the oboist Ernst Krähmer [de] who was described as being able to "diminish and swell the notes, up to an almost unbelievable loudness" suggesting that techniques had been developed to overcome the change of pitch that occurs when increasing or decreasing the breath pressure on fipple flutes.

[1] During the course of the 19th century, it appears that some recorders by 18th century makers were converted for use as csakans as evidenced by surviving instruments by Denner and Staub with added keys and thumb hole bushings added to the aforementioned Denner as well as a recorder by Gahn.

[6] The csakan continued to be played until around the turn of the 20th century as evidenced by methods by Krähmer (1870), Köhler (1880) and Barth (1910).

[1][3] Much of the repertoire consists of arrangements of works for other instruments such as sonatas by Beethoven, waltzes by Johann Strauss II and various pieces extracted from popular operas of the time.