tlapitzalli.

Headword: 
tlapitzalli.
Principal English Translation: 

wind instrument(s), flutes; the blowing of wind instruments; also, a cast metal object
Fr. Bernardino de Sahagún, Florentine Codex: General History of the Things of New Spain; Book 10 -- The People, No. 14, Part 11, eds. and transl. Arthur J. O. Anderson and Charles E. Dibble (Santa Fe and Salt Lake City: School of American Research and the University of Utah, 1961), 61.

IPAspelling: 
tɬɑpiːtsɑlli
Alonso de Molina: 

tlapitzalli. flauta, cheremia, orlo.
Alonso de Molina, Vocabulario en lengua castellana y mexicana y mexicana y castellana, 1571, part 2, Nahuatl to Spanish, f. 132r. col. 1. Thanks to Joe Campbell for providing the transcription.

Frances Karttunen: 

TLAPĪTZAL-LI pl: -MEH~ -TIN flute, wind instrument / flauta, chirimía, orlo (M) [(1)Cf.47v, (1)Tp.234, (2)Zp.60,213]. Z has the abbreviated form TLAPĪTZ-TLI. See PĪTZ(A).
Frances Karttunen, An Analytical Dictionary of Nahuatl (Norman: University of Oklahoma Press, 1992), 292.

Attestations from sources in English: 

huel miec tlatzotzonali tlapitzalli = There was much drumming and blowing of wind instruments (Tlaxcala-Puebla, seventeenth century)
Here in This Year: Seventeenth-Century Nahuatl Annals of the Tlaxcala-Puebla Valley, ed. and transl. Camilla Townsend, with an essay by James Lockhart (Stanford: Stanford University Press, 2010), 152–153.

tlapitzalnamacac = the seller of cast metal objects (central Mexico, sixteenth-century)
Fr. Bernardino de Sahagún, Florentine Codex: General History of the Things of New Spain; Book 10 -- The People, No. 14, Part 11, eds. and transl. Arthur J. O. Anderson and Charles E. Dibble (Santa Fe and Salt Lake City: School of American Research and the University of Utah, 1961), 61.

nelli tehoatzin tinetlaxonjuh, titlatlapitzal tonmuchioa in tloque, naoaque in totecujo in iooalli, in ehecatl = verily, thou art the seat, thou art the flute—thou hast become such for the lord of the near, of the nigh, our lord, the night, the wind (central Mexico, sixteenth century)
Fr. Bernardino de Sahagún, Florentine Codex: General History of the Things of New Spain; Book 6 -- Rhetoric and Moral Philosophy, No. 14, Part 7, eds. and transl. Arthur J. O. Anderson and Charles E. Dibble (Santa Fe and Salt Lake City: School of American Research and the University of Utah, 1961), 187.

An extra special captive without flaws was chosen to be the ritual representative of Tezcatlipoca (or Titlacauan, Titlacahuan) in the ceremonial month of Toxcatl. His captor would eventually slay him. But first he was prepared for the role, being kept in the house of the calpixqui (guardian). He was made to be prudent and well-spoken, and he was treated like a lord. He would get to marry four women specially chosen for him. He had to fast, he was painted black, and he was dressed in flowers. He was taught to play the flute:
yn tlapitzaz: ynic vel qujpitzaz, yujlacapitz; yoan inic vel muchi ipan qujtzitzquiz; yxochiuh, yoan yieuh, ipan tlapitztiaz, tlachichintiaz, tlanecutiaz = that he be taught to blow the flute; that he might pipe and play his flute well; and that with it he hold his flowers and his smoking tube and blow and suck upon it, and smell [the flowers].
Fr. Bernardino de Sahagún, Florentine Codex: General History of the Things of New Spain; Book 2 -- The Ceremonies, No. 14, Part III, eds. and transl. Arthur J. O. Anderson and Charles E. Dibble (Santa Fe and Salt Lake City: School of American Research and the University of Utah, 1951), 65–66.

in ie iuhquj njman tlapitzalo, tecciztli mopitza, qujqujztli, mapipitzoa, yoan cujco: cujcapan tlapitzalpan, in oalmoiacatia: motecpana in cozcateca, qujquequechpanotiuj, aztapanjtl, qujiaoaloa in temalcatl = When this was done, then trumpets were sounded; conch shells, large sea shells, were blown; men put their fingers in their mouths and whistled, and there was singing. With singing of songs and blowing of trumpets, they arrived. The Cozcateca placed themselves in order, their shoulders decked with feather banners, and they encircled the offering-stone. (16th century, Mexico City)
Fr. Bernardino de Sahagún, Florentine Codex: General History of the Things of New Spain; Book 2—The Ceremonies, No. 14, Part III, eds. and transl. Arthur J. O. Anderson and Charles E. Dibble (Santa Fe and Salt Lake City: School of American Research and the University of Utah, 1951), 50.

itechconpa teontlatquitl ynhua tlapitzalli ynhua organo = concerning the church property, both the wind instruments and the organ (Calimaya, Toluca Valley, 1647)
Caterina Pizzigoni and Camilla Townsent, Indigenous Life after the Conquest: The De la Cruz Family Papers of Colonial Mexico, Latin American Originals, 16 (University Park, Penn.: Pennsylvania State University Press, 2021), 45, 78.

Attestations from sources in Spanish: 

auh yn ixq'[ui]chtin ymacehualhua[n] marq[ue]s moch vallaque in tlatoque tlachichihuaco in quauhnahuaca auh moch q'[ui]hualcuique yn invandera yhua[n] intlapitzal trompa ma[y]or = Y todos los macehuales del Marqués vinieron, los señores quauhnahuacas vinieron a adornar, todos trajeron su bandera y su instrumento de viento, la trompa mayor. (ca. 1582, México)
Luis Reyes García, ¿Como te confundes? ¿Acaso no somos conquistados? Anales de Juan Bautista (México: Centro de Investigaciones y Estudios Superiores en Antropología Social, Biblioteca Lorenzo Boturini Insigne y Nacional Basílica de Guadalupe, 2001), 148–149.