1.
Flute
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The flute is a family of musical instruments in the woodwind group. Unlike woodwind instruments with reeds, a flute is an aerophone or reedless wind instrument that produces its sound from the flow of air across an opening, according to the instrument classification of Hornbostel–Sachs, flutes are categorized as edge-blown aerophones. A musician who plays the flute can be referred to as a player, flautist, flutist or, less commonly. Flutes are the earliest extant musical instruments, as paleolithic instruments with hand-bored holes have been found, a number of flutes dating to about 43,000 to 35,000 years ago have been found in the Swabian Jura region of present-day Germany. These flutes demonstrate that a musical tradition existed from the earliest period of modern human presence in Europe. Flutes, including the famous Bansuri, have been a part of Indian classical music since 1500 BC. A major deity of Hinduism, Krishna, has been associated with the flute, the English verb flout has the same linguistic root, and the modern Dutch verb fluiten still shares the two meanings. Attempts to trace the word back to the Latin flare have been pronounced phonologically impossible or inadmissable, the first known use of the word flute was in the 14th century. According to the Oxford English Dictionary, this was in Geoffrey Chaucers The Hous of Fame, today, a musician who plays any instrument in the flute family can be called a flutist, or flautist, or simply a flute player. Flutist dates back to at least 1603, the earliest quote cited by the Oxford English Dictionary, flautist was used in 1860 by Nathaniel Hawthorne in The Marble Faun, after being adopted during the 18th century from Italy, like many musical terms in England since the Italian Renaissance. Other English terms, now obsolete, are fluter and flutenist. The oldest flute ever discovered may be a fragment of the femur of a cave bear. In 2008 another flute dated back to at least 35,000 years ago was discovered in Hohle Fels cave near Ulm, the five-holed flute has a V-shaped mouthpiece and is made from a vulture wing bone. The researchers involved in the officially published their findings in the journal Nature. The flute, one of several found, was found in the Hohle Fels cavern next to the Venus of Hohle Fels, on announcing the discovery, scientists suggested that the finds demonstrate the presence of a well-established musical tradition at the time when modern humans colonized Europe. Scientists have also suggested that the discovery of the flute may help to explain the probable behavioural and cognitive gulf between Neanderthals and early modern human. A three-holed flute,18.7 cm long, made from a mammoth tusk was discovered in 2004, the earliest extant Chinese transverse flute is a chi flute discovered in the Tomb of Marquis Yi of Zeng at the Suizhou site, Hubei province, China. It dates from 433 BC, of the later Zhou Dynasty and it is fashioned of lacquered bamboo with closed ends and has five stops that are at the flutes side instead of the top
2.
Embouchure
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The embouchure is the use of facial muscles and the shaping of the lips to the mouthpiece of woodwind instruments or the mouthpiece of the brass instruments. The word is of French origin and is related to the root bouche, the proper embouchure allows the instrumentalist to play the instrument at its full range with a full, clear tone and without strain or damage to ones muscles. While performing on an instrument, the sound is produced by the player buzzing his or her lips into a mouthpiece. Pitches are changed in part through altering the amount of muscular contraction in the lip formation, the performers use of the air, tightening of cheek and jaw muscles, as well as tongue manipulation can affect how the embouchure works. Even today, many brass pedagogues take an approach to teaching how a brass players embouchure should function. Many of these authors also disagree with each other regarding which technique is correct, research suggests efficient brass embouchures depend on the player using the method that suits that players particular anatomy. In 1962, Philip Farkas hypothesized that the air stream traveling through the lip aperture should be directed straight down the shank of the mouthpiece and he believed that it would be illogical to violently deflect the air stream downward at the point of where the air moves past the lips. In this text, Farkas also recommends that the lower jaw be protruded so that the upper and lower teeth are aligned, in 1970, Farkas published a second text which contradicted his earlier writing. Out of 40 subjects, Farkas showed that 39 subjects directed the air downward to varying degrees, the lower jaw position seen in these photographs show more variation from his earlier text as well. This supports what was written by trombonist and brass pedagogue Donald S. Reinhardt in 1942. According to this text, players who place the mouthpiece higher on the lips, so that more upper lip is inside the mouthpiece. Performers who place the lower, so that more lower lip is inside the mouthpiece. In order for the performer to be successful, the air stream direction, lloyd Leno confirmed the existence of both upstream and downstream embouchures. More controversial was Reinhardts description and recommendations regarding a phenomenon he termed a pivot, whether the player uses one general pivot direction or the other, and the degree to which the motion is performed, depends on the performers anatomical features and stage of development. The placement of the mouthpiece upon the lips doesnt change, but rather the relationship of the rim, later research supports Reinhardts claim that this motion exists and might be advisable for brass performers to adopt. Froelich noted that the symphonic trombonists used the least amount of direct and shear forces and recommends this model be followed. Other research notes that virtually all brass performers rely upon the upward and downward embouchure motion, other authors and pedagogues remain skeptical about the necessity of this motion, but scientific evidence supporting this view has not been sufficiently developed at this time to support this view. Some noted brass pedagogues prefer to instruct the use of the embouchure from an analytical point of view
3.
Perpendicular
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In elementary geometry, the property of being perpendicular is the relationship between two lines which meet at a right angle. The property extends to other related geometric objects, a line is said to be perpendicular to another line if the two lines intersect at a right angle. Perpendicularity can be shown to be symmetric, meaning if a first line is perpendicular to a second line, for this reason, we may speak of two lines as being perpendicular without specifying an order. Perpendicularity easily extends to segments and rays, in symbols, A B ¯ ⊥ C D ¯ means line segment AB is perpendicular to line segment CD. A line is said to be perpendicular to an if it is perpendicular to every line in the plane that it intersects. This definition depends on the definition of perpendicularity between lines, two planes in space are said to be perpendicular if the dihedral angle at which they meet is a right angle. Perpendicularity is one instance of the more general mathematical concept of orthogonality, perpendicularity is the orthogonality of classical geometric objects. Thus, in advanced mathematics, the perpendicular is sometimes used to describe much more complicated geometric orthogonality conditions. The word foot is used in connection with perpendiculars. This usage is exemplified in the top diagram, above, the diagram can be in any orientation. The foot is not necessarily at the bottom, step 2, construct circles centered at A and B having equal radius. Let Q and R be the points of intersection of two circles. Step 3, connect Q and R to construct the desired perpendicular PQ, to prove that the PQ is perpendicular to AB, use the SSS congruence theorem for and QPB to conclude that angles OPA and OPB are equal. Then use the SAS congruence theorem for triangles OPA and OPB to conclude that angles POA, to make the perpendicular to the line g at or through the point P using Thales theorem, see the animation at right. The Pythagorean Theorem can be used as the basis of methods of constructing right angles, for example, by counting links, three pieces of chain can be made with lengths in the ratio 3,4,5. These can be out to form a triangle, which will have a right angle opposite its longest side. This method is useful for laying out gardens and fields, where the dimensions are large, the chains can be used repeatedly whenever required. If two lines are perpendicular to a third line, all of the angles formed along the third line are right angles
4.
Western concert flute
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The Western concert flute is a transverse woodwind instrument made of metal or wood. It is the most common variant of the flute, a musician who plays the flute is called a flautist, flutist, flute player, or fluter. This type of flute is used in ensembles including concert bands, military bands, marching bands, orchestras, flute ensembles. Other flutes in this include the piccolo, alto flute. A large repertory of works has been composed for flute, the flute is one of the oldest and most widely used wind instruments. The precursors of the concert flute were keyless wooden transverse flutes. These were later modified to include one and eight keys for chromatic notes. The most common pitch for keyless wooden traverse flutes is six-finger D, keyless traverse flutes continue to be used in folk music and in historically informed performances of Baroque music. Throughout the 11th, 12th and 13th centuries, transverse flutes were very uncommon in Europe, the transverse flute arrived in Europe from Asia, via the Byzantine Empire, where it migrated to Germany and France. These flutes became known as German flutes, to them from others. The flute became used in music, along with the viol. It would not spread to the rest of Europe for nearly a century, the first literary appearance of the transverse flute was made in 1285, by Adenet le Roi in a list of instruments he played. After this, a period of 70 years ensues, where there are few references to the flute, beginning in the 1470s, a military revival in Europe led to a revival in the flute. The Swiss army used flutes for signaling, and this helped the spread to all of Europe. In the late 16th century, flutes began to appear in court and theatre music, following the 16th century court music, flutes began appearing in chamber ensembles. These flutes were used as the tenor voice. However, flutes varied greatly in size and range and this made transposition necessary, which led flutists to use Guidonian hexachords to transpose music more easily. At this stage, the flute was usually made in one section and had a cylindrical bore
5.
Bansuri
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A bansuri is a side blown flute found in many parts of India and Nepal, and a musical instrument that is common in the North Indian or Hindustani classical music. It is an aerophone produced from bamboo, and a flute is called Venu in the South Indian or Carnatic classical music. The bansuri flute is an ancient musical instrument of the Indian subcontinent and it is called nadi and tunava in the Rigveda and other Vedic texts of Hinduism. Its importance and operation is discussed in the Sanskrit text Natya Shastra, a bansuri is traditionally made from a single hollow shaft of bamboo with six or eight finger holes, but modern designs come in ivory, fiberglass and various metals. The six hole instrument covers two and a half octaves of music, the bansuri is typically between 30 centimetres and 75 centimetres in length, and the thickness of a human thumb. One end is closed, and few centimeters from the end is its blow hole. Longer bansuris feature deeper tones and lower pitches, the traditional design features no mechanical keys, and the musician creates the notes she wants by tapping the various finger holes. The bansuri-like flute is depicted in ancient Buddhist, Hindu and Jaina temple paintings and reliefs and it is intimately linked to the love story of Krishna and Radha. The bansuri is revered as Lord Krishnas divine instrument and is associated with Krishnas Rasa lila dance. These legends sometimes use alternate names for this instrument, such as the murali. However, the instrument is common among other traditions such as Shaivism. The word bansuri originates in the bans + sur, a phonetically similar same for the same instrument, in early medieval texts, is the Sanskrit word vamsi which is derived from root vamsa meaning bamboo. A flute player in these texts is called vamsika. According to Ardal Powell, flute is an instrument found in numerous ancient cultures. There are three legendary and archeologically verifiable birthplace sites of flutes, Egypt, Greece and India, of these, the transverse flute appeared only in ancient India, while the fipple flutes are found in all three. It is likely, states Powell, that the modern Indian bansuri has not changed much since the medieval era. The early medieval Indian bansuri was, however, influential, the flute is discussed as an important musical instrument in the Natya Shastra, the classic Sanskrit text on music and performance arts. The flute is mentioned in many Hindu texts on music and singing, as complementary to the human sound and Veena
6.
Venu
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The venu is one of the ancient transverse flutes of Indian classical music. It is an aerophone made from bamboo, that is a side blown wind instrument. It continues to be in use in the South Indian Carnatic music tradition, in Northern Indian music, a similar flute is called bansuri. In the South, it is called by various other names such as pullankuzhal in Tamil, പുല്ലാങ്കുഴല് in Malayalam. It is known as pillana grōvi or Vēṇuvu in Telugu, the venu is discussed as an important musical instrument in the Natya Shastra, the classic Hindu text on music and performance arts. The ancient Sanskrit texts of India describe other side blown flutes such as the murali and vamsika, a venu has six holes, is about the thickness of a thumb, and twelve fingers long. A longer murali has four holes and two hands longs, the vamsika has eight holes, between twelve and seventeen fingers long. A venu is a part of the iconography of Hindu god Krishna, one of the oldest musical instruments of India, the instrument is a key-less transverse flute made of bamboo. The fingers of hands are used to close and open the holes. It has a hole near one end, and eight closely placed finger holes. The instrument comes in various sizes, the venu is also a highly respected instrument and those who play it are expected to appreciate it, for it is considered a gift to be able to play it. The venu is capable of producing two and half octaves with the help of over-blowing and cross fingering, the flute is like the human voice in that it is monophonous and also has a typical two and half octave sound reproduction. Sliding the fingers on and off the holes allows for a degree of ornamentation. The flute finds great mention in Indian mythology and folklore having been listed as among the 3 original instruments meant for music along with the human sound, however it is strange that there is no name mentioned for the typical flute that the Lord plays. The venu is associated with the Hindu god Krishna, who is depicted playing it. This kind of flute is used in South India. The Lord Vishnu is portrayed as Sri Venugopala - playing the flute of Creation. In the Hindustani style, it is known as Bansuri, in the Carnatic style, it is known as flute. Palladam Sanjiva Rao, a disciple of Sharaba Shastri, H. Ramachandra Shastry, a disciple of Palladam Sanjiva Rao
7.
Dizi (instrument)
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The dizi, is a Chinese transverse flute. It is also known as the di or héngdi, and has varieties including the qǔdi and bāngdi. These names are likely to have multiple spellings, too, depending on the used to convert from Chinese names. Nonetheless, dizi seems to be the most common used in the West. The dizi is a major Chinese musical instrument, and is used in many genres of Chinese folk music, as well as Chinese opera. Traditionally, the dizi has also been popular among the Chinese common people, most dizi are made of bamboo, which explains why dizi are sometimes known by simple names such as Chinese bamboo flute. However, bamboo is perhaps more of a Chinese instrument classification like woodwind in the West, Northern Chinese dizi are made from purple or violet bamboo, while dizi made in Suzhou and Hangzhou are made from white bamboo. Dizi produced in southern Chinese regions such as Chaozhou are often made of slender, lightweight. Although bamboo is the material for the dizi, it is also possible to find dizi made from other kinds of wood. The dizi is not the only bamboo flute of China, although it is certainly distinctive, other Chinese bamboo wind instruments include the vertical end-blown xiao and the koudi. There are many suggestions for the source of dizi, while legend suggest it was the invention of the Yellow Emperor, who wanted to make the bamboo a musical instrument, others suggest that dizi was imported into China during the Han Dynasty. Recently, archaeologists have discovered evidence suggesting that the simple transverse flutes have been present in China for over 9,000 years, fragments of bone flutes from this period are still playable today, and are remarkably similar to modern versions in terms of hole placement, etc. The Jiahu neolithic site in central Henan province of China has yielded flutes dating back to 7,000 BC -5,000 BC that could represent the earliest playable instruments ever found. These flutes were carved with five to eight holes, and is capable of producing varied sounds in a nearly accurate octave. The dizi as we know it today dates to the 5th century BC. There are examples of bamboo dizi that date back to 2nd century BC that has been found and these flutes share common features of other simple flutes from cultures all around the world, including the ney, an end-blown cane flute which was depicted in Egyptian paintings and stone carvings. In fact, recent archeological discoveries in Africa suggest that the history of such flutes may date back a long way in human history indeed. Traditionally dizi is made by using a piece of bamboo
8.
Fife (instrument)
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A fife /ˈfaɪf/ is a small, high-pitched, transverse flute, that is similar to the piccolo, but louder and shriller due to its narrower bore. The fife originated in medieval Europe and is used in military. Someone who plays the fife is called a fifer, the word fife comes from the German Pfeife, or pipe, which comes from the Latin word pipare. The fife is an instrument usually consisting of a tube with 6 finger holes. Some have 10 or 11 holes for added chromatics, the fife also has an embouchure hole, across which the player blows, and a cork or plug inside the tube just above the embouchure hole. Some nineteenth-century fifes had a key pressed by the finger of the right hand in place of a seventh finger hole. Fifes are made mostly of wood, grenadilla, rosewood, mopane, pink ivory, cocobolo, boxwood and other woods are superior, maple and persimmon are inferior. Some Caribbean music makes use of bamboo fifes, Military and marching fifes have metal reinforcing bands around the ends to protect them from damage. Fifes used in strenuous conditions sometimes have a lathe-turned, knob-like decoration at the ends for similar reasons. Some fifes are entirely made of metal or plastic, some modern fifes are of two-piece construction with a sliding tuning joint similar to some recorders. The standard fife is an A-flat transposing instrument, meaning that prevailing scoring conventions dictate that the C position on a fife-part staff should correspond to a concert A-flat, the standard fife sounds a minor sixth above written. Fifes pitched in the keys of D and of C are also common, fifes in various other keys are sometimes played in musical ensembles. A common convention specific to fife music and contradictory to those above is for music to be written in the key of D regardless of the key in which the fife in question sounds. Like the Irish flute and the tinwhistle, the fife is a simple system flute. These flutes are unable to play all chromatic pitches, while many of the pitches they can play are grossly out of tune. This tuning irregularity is part of the sound of the fife. An experienced fife player can play 3 full octaves although the fingering patterns necessary for playing in the octave can be daunting to a beginner. Marching bands typically play only in the second and third octave since these are the loudest and most penetrating, in medieval Europe, the fife was used in some folk music traditions to accompany dancing by all social classes
9.
Fue
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Fue is the Japanese word for flute, and refers to a class of flutes native to Japan. Fue come in varieties, but are generally high-pitched and made of a bamboo called shinobue. The most popular of the fue is the shakuhachi, fue are traditionally broken up into two basic categories – the transverse flute and the end-blown flute. Transverse flutes are held to the side, with the musician blowing across a hole near one end, end-blown flutes are held vertically, the earliest fue may have developed from pitch pipes called paixiao in Chinese. The gabachi instruments eventually made its way over to Japan from China in the fifth century, soon after the introduction of fue instruments, members of the Fuke sect of Zen Buddhism made normal use of the shakuhachi. These priests of nothingness viewed the instruments as spiritual tools, using them for suizen, modern fue performance may feature a soloist or involve either a chamber or large ensemble of the instruments. Japanese fue include many different varieties of Japanese flute, including the following
10.
Daegeum
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The daegeum is a large bamboo transverse flute used in traditional Korean music. It has a membrane that gives it a special timbre. It is used in court, aristocratic, and folk music, as well as in classical music, popular music. Smaller flutes in the family include the junggeum and sogeum. The three together are known as samjuk, as the three primary flutes of the Silla period, the solo performance called daegeum sanjo was pronounced an Important Intangible Cultural Properties of Korea by the Cultural Heritage Administration of South Korea in 1971. The king ordered his caretaker of the sun to test whether this was good luck. The caretaker replied that a king who turned into a sea dragon. The king soon sent a person to look for the gift, the person replied that a bamboo tree on the top of the island becomes two in the morning and one in the night. On the next day, the world shook and it rained and wind blew, and the world was thrown into darkness for a week. When the king went to the island himself, a dragon appeared and told him if the bamboo on the top of the island was cut down, made into a flute, and blown. The king cut down the tree, and the flute made from the bamboo was called Man Pa Sik Juk, junggeum Sogeum Music of Korea Traditional Korean musical instruments Dizi Di mo Bamboo musical instruments Daegeum page Daegeum video and audio
11.
End-blown flute
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The end-blown flute is a keyless woodwind instrument played by directing an airstream against the sharp edge of the upper end of a tube. Unlike a recorder or tin whistle, there is not a ducted flue voicing, most rim-blown flutes are oblique flutes, being played at an angle to the bodys vertical axis. They generate sound by at this end blown voicing by siphon effect, a notched flute is an end-blown flute with a notch on the blowing surface. A lip-valley flute is a type of notched flute, end-blown flutes are widespread in folk music and art music. In the Middle East and Mediterranean the ney is frequently used, constructed from reed, depictions of early versions of the ney can be found in wall paintings in ancient Egyptian tombs, indicating that it is one of the oldest musical instruments in continuous use. Further, several ancient Persian artworks also depict the use of Ney in Persian traditional music, in Turkey the ney and kaval are both end-blown, although one type of Turkish kaval has a fipple. The Turkish ney plays a prominent role in classical Turkish music, the Arab nay and the Persian ney are similar to the Turkish ney. China has the xiao, Japan has the shakuhachi and Korea has the danso and tongso, people of the Andes play the quena, the Hopi and their predecessors the Anasazi of the American southwest have and had a flute similar to the ney. The washint is an East African flute, panpipes are rim-blown in the same fashion with their lower ends stopped, bound together in a row or raft
12.
Whistle
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An aerodynamic whistle is a simple aerophone, an instrument which produces sound from a stream of gas, most commonly air. It may be mouth-operated, or powered by air pressure, steam, whistles vary in size from a small slide whistle or nose flute type to a large multi-piped church organ. Whistles have been around since humans first carved out a gourd or branch. In prehistoric Egypt, small shells were used as whistles, many present day wind instruments are inheritors of these early whistles. With the rise of mechanical power, other forms of whistles have been developed. One characteristic of a whistle is that it creates a pure, or nearly pure, there are many ways to create pure tones, but we restrict the descriptions here to what are called aerodynamic whistles. Strictly speaking, they are fluid mechanical whistles since they occur in gases, such as air or steam, as well as in liquids, the only difference between them is the fluid density and the sound speed. The word aerodynamic whistle is used here since it is in common use, the conversion of flow energy to sound comes from an interaction between a solid material and a fluid stream. The forces in some whistles are sufficient to set the material in motion. Classic examples are Aeolian tones that result in galloping power lines, other examples are circular disks set into vibration. The whistles described in this article are in a subclass where only the fluid is in motion, joseph Hudson set up J Hudson & Co in Birmingham, UK in 1870. With his younger brother James, he designed the Acme City brass whistle and this became the first referee whistle used at association football matches during the 1878–79 Football Association Cup match between Nottingham Forest and Sheffield. Prior to the introduction of the whistle, handkerchiefs were used by the umpires to signal to the players, in 1883 he began experimenting with pea-whistle designs that could produce an intense sound that could grab attention from over a mile away. His invention was discovered by accident, when he dropped his violin. Observing how the discordant sound of the breaking strings travelled, Hudson had the idea to put a pea in the whistle, prior to this, whistles were much quieter, and were only thought of as musical instruments or toys for children. After observing the problems that local police were having with effectively communicating with rattles, Hudson demonstrated his whistle to Scotland Yard and was awarded his first contract in 1884. This police whistle monopoly gradually made Hudson the largest whistle manufacturer in the world, supplying police forces and his whistle is still used by many forces worldwide. His design, was improved as the Acme Thunderer, the first ever pea whistle, in 1987, Ron Foxcroft released the Fox 40 pealess whistle, designed to replace the pea whistle and be more reliable
13.
Komabue
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The komabue is a transverse fue that is used in traditional Japanese court music. The komabue is typically constructed from bamboo and it is a transverse flute with six finger-holes. It is 36 cm, shorter than the ryuteki flute, the komabue is used in both Gagaku and Komagaku. Historically the Oga family of musicians in Japan specialized in the komabue
14.
Nohkan
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The Nohkan is a high pitched, Japanese bamboo transverse flute or fue. It is commonly used in traditional Imperial Noh and Kabuki theatre, the nohkan flute was created by Kanami and his son Zeami in the 15th century, during the time when the two were transforming the Noh theatre forms Dengaku and Sarugaku. The nohkan or fue is made of split and tapered strips of smoked bamboo or burned bamboo, the smoking carbonizes the bamboo and preserves it. The split strips of bamboo are reversed to place the hard surface on the inside for improved acoustics. Some modern versions of nohkan use a coating of tempera paint for this. The strips are glued together, bound with thin strips of twisted cherry bark. The result is a tube of 39.1 cm with an average bore width of 1.7 cm. The nohkan has an internal bore restriction of about 2–3 mm called a nodo. This throat, combined with the bore, gives the nohkan its unique high pitched sound by shifting the overblown register notes via a venturi effect. The nohkan plays a high pitch that is rich with high frequency harmonics. The range of the flute is over two octaves, each flute is traditionally an individual and made a bit differently each time by the maker-player, the keynote frequency varies from flute to flute. Ryuteki Shinobue, another Japanese transverse bamboo flute Shakuhachi, a Japanese end-blown bamboo flute Bamboo musical instruments Ethnomusicology, Vol.9, No. 3, pp. 221–239 Nohkan information Ron Korbs Asian Flute Gallery Syoji Yamaguchis web site on Japanese transverse flutes Japanese Traditional Music The Nohkan, Its Construction and Music
15.
Shinobue
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The shinobue in the context of Japanese traditional arts) is a Japanese transverse flute or fue that has a high-pitched sound. It is found in hayashi and nagauta ensembles, and plays important roles in noh and it is heard in Shinto music such as kagura-den and in traditional Japanese folk songs. There are two styles, uta and hayashi, the uta is properly tuned to the Western scale, and can be played in ensembles or as a solo instrument. The hayashi is not in the pitch, because it is simply a piece of hollow bamboo with holes cut into it. It emits a very high-pitched sound, and is appropriate for the music of Japan. Both shinobue flutes play an important role in the Japanese theater. Ryuteki Bamboo musical instruments Kotos and More Ron Korbs Asian Flute Gallery Syoji Yamaguchis web site on Japanese transverse flutes Japanese Traditional Music
16.
Irish flute
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The vast majority of traditional Irish flute players use a wooden, simple-system flute. The Irish flute is a system, transverse flute which plays a diatonic scale as the tone holes are successively uncovered. Most flutes from the Classical era, and some of modern manufacture include metal keys, due to its wooden construction, characteristic embouchure and direct fingering, the simple system flute has a distinctly different timbre from the Western concert flute. Most Irish flute players tend to strive for a dark and reedy tone in comparison to classical flautists. Though most commonly pitched in the key of D, simple system flutes are available pitched in other keys, although referred to as a D flute, this is a non-transposing instrument, so if you finger C, a concert-pitch C is sounded. The name D-flute comes from the fact that the simplest 6-hole wooden flute has D as its lowest note, the E-flat, B flat and C versions are transposing instruments. The flute has six main finger-holes, for a D flute, with X symbolizing a covered finger-hole and O symbolizing an uncovered finger-hole, all holes covered, can be represented as XXX-XXX = D. As the scale progresses, XXX-XXO = E, XXX-XOO = F#, XXX-OOO = G, XXO-OOO = A, XOO-OOO = B, OOO-OOO = C#, wooden flutes have a cylindrical bore in the head and a conical bore in the body. This bore is largest at the end, tapering down to a smaller bore at the foot. This has the effect of shortening the flute for a given pitch, there is some confusion with modern players in that a modern Boehm keyed system flute is typically pitched in C. The Boehm flute has a bore and uses keys to enable the tone holes to be in the ideal place. Despite the implication of this commonly used name, the Irish flute is not an instrument indigenous to Ireland, the simple system, conical-bore flute is what people played before the advent of the modern, Boehm system, Western concert flute in the mid-19th century. Simple-system flutes are made of wood. There were several manufacturers of this type of flute, among whom was English inventor and flautist Charles Nicholson Jr, george Rudall was an amateur player of some importance who studied for a time under the junior Nicholson before teaching on his own. He was introduced to John Mitchell Rose in c.1820, the Pratten has wider bore dimensions and provides a bigger sound. Many of these original flutes had a joint that allowed the playing of both C# and C with the use of keys, typically pewter plugs that fit into silver plates. Simple system flutes were not made with traditional musicians in mind. Also, an upturn in the conditions in Ireland from the middle of the 19th century meant that more people were able to acquire instruments
17.
Koudi
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The koudi is a very small Chinese flute made from bamboo. It is the smallest flute in Chinese Flute family and its original shape is from prehistorical instruments made with animal bone, while Koudi is made with wood, bamboo or PVC, which is very distinct with the original shape. It was invented in 1971 by dizi master Yu Xunfa, in 1971, the famous Chinese Flute player Yu Xunfa, who was inspired by original prehistorical instrument, made the first Koudi. This instrument contains one octave, and two years later this instrument went to public by playing the recomposed Romanian folk song Ciocârlia, after that, to expand the range，Xu made the five-hole Koudi, and Bai Chengren composed Morning of A Miao Village《苗岭的早晨》. Therefore, Koudi became famous in China, the instrument comes in two sizes. The smaller size, called gaoyin koudi, which is only 5–6 cm in length, has only the holes on the sides, the larger size, referred to as zhongyin koudi, is 8–9 cm long and has an additional 2–4 holes on the front. The gaoyin koudi is pitched an octave above the xiao di, the range of the koudi is about a ninth or tenth, and it can bend notes over the entire range of the instrument. A related instrument in Hunnan province called the tuliang is also center-blown, one of the most famous compositions for the koudi isMaoLing de ZaoChen and YunQue. The instrument is used in Chinese orchestral pieces such as Fei Tian. Basically, a Koudi has two octaves, but it is not easy to get on the correct pitch
18.
Members of the western concert flute family
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The western concert flute family has a wide range of instruments. The piccolo is the member of the flute family, with a range an octave above that of the concert flute. Its usually the instrument within orchestras and bands. The piccolo has a stereotype for being difficult to play in tune, the treble flute is pitched in the key of G, a fifth above the concert flute. The instrument is today, only occasionally found in flute choirs or private collections. This distinctive sounding instrument is found at present. A few American publications for flute choir currently include a part for an Eb flute, in these publications, an alternative part is provided either for the C Flute or for the piccolo. The standard concert flute is by far the most common member of the flute family, the flute is used in many ensembles including concert bands, orchestras, flute ensembles, occasionally jazz bands and big bands. The instrument is pitched in C and has a range of just over three octaves starting from the musical note C4, however, some experienced flautists are able to reach C8, many professional flutes have a longer B-foot joint, which can reach B3. The flûte damour or flauto damore is pitched in either A or B♭ and is intermediate in size between the modern C concert flute and the flute in G. It is the soprano member of the flute family. It is sometimes referred to as a tenor flute, the range of the instrument is from A♭3 to E7. The B♭ version is used for jazz because both the tenor saxophone and clarinet are in B♭. The alto flute is characterized by its distinct, mellow tone in the portion of its range. The tube of the flute is considerably thicker and longer than a C flute. However, this gives it a dynamic presence in the bottom octave. It is pitched in the key of G with its range stretching from G3 to G6, the headjoint may be straight or curved. The bass flute is pitched in the key of C, because of the length of its tube, it is usually made with a curved headjoint, sometimes in a J shape, to bring the embouchure hole within reach of the player
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Piccolo
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The piccolo /ˈpɪkəloʊ/ is a half-size flute, and a member of the woodwind family of musical instruments. The modern piccolo has most of the same fingerings as its sibling, the standard transverse flute. This gave rise to the name ottavino, the name by which the instrument is referred to in the scores of Italian composers, piccolos are now manufactured in the key of C or D♭. It was for this D♭ piccolo that John Philip Sousa wrote the solo in the final repeat of the closing section of his march The Stars. In the orchestral setting, the player is often designated as piccolo/flute III. The larger orchestras have designated this position as a position due to the demands of the literature. Piccolos are often orchestrated to double the violins or the flutes, adding sparkle, in concert band settings, the piccolo is almost always used and a piccolo part is almost always available. Historically, the piccolo had no keys, and should not be confused with the fife, the piccolo is used in conjunction with marching drums in traditional formations at the Carnival of Basel, Switzerland. It is a myth that one of the earliest pieces to use the piccolo was Beethovens Symphony No.5 in C Minor, although neither Joseph Haydn nor Mozart used it in their symphonies, some of their contemporaries did, including Hoffmeister, Süssmayr and Michael Haydn. Also, Mozart used the piccolo in his opera Idomeneo, opera orchestras in Paris sometimes included small transverse flutes at the octave as early as 1735 as existing scores by Rameau show. Finely made piccolos are often available with a variety of similar to the flute. Most piccolos have a body with a cylindrical head, which is like the Baroque flute. There are a number of pieces for piccolo alone, by composers as Samuel Adler, Robert Dick, Michael Isaacson, David Loeb, Polly Moller, Vincent Persichetti. Additionally, there is a selection of chamber music that uses the piccolo. One example is the Quintet for Piccolo and String Quartet by Graham Waterhouse, another is Stockhausens Zungenspitzentanz, for piccolo and two euphoniums, with optional percussionist and dancer. Bryn Mawr, Theodore Presser Company,2008, the Symphonic Debutante Piccolo, Was it Really Beethovens Fifth. The Woodwind Fingering Guide, with piccolo fingerings
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Treble flute
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The treble flute is a member of the flute family. It is in the key of G, pitched a fifth above the concert flute and is a transposing instrument, the instrument is rare today, only occasionally found in flute choirs, some marching bands or private collections. Some 19th-century operas, such as Ivanhoe include the instrument in their orchestrations, a limited number of manufacturers produce G treble flute, including Myall-Allen and Flutemakers Guild. The flutes have many of the options as their larger C flute cousins, including sterling silver bodies, trill keys. The instrument should not be confused with the Alto Flute, also in G, since the demise of the Renaissance flute consorts, the use of this treble flute in G seems to have all but disappeared
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Alto flute
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The alto flute is a type of Western concert flute, a musical instrument in the woodwind family. It is the next extension downward of the C flute after the flûte damour and it is characterized by its distinct, mellow tone in the lower portion of its range. It is an instrument in G and, like the piccolo and bass flute. The tube of the flute is considerably thicker and longer than a C flute. This gives it a dynamic presence in the bottom octave. It was the favourite flute variety of Theobald Boehm, who perfected its design and its range is from G3 to G6 plus an altissimo register stretching to D♭7. The headjoint may be straight or curved, british music that uses this instrument often refers to it as a bass flute, which can be confusing since there is a distinct instrument known by that name. This naming confusion originated in the fact that the flute in C is pitched in the same range as the Renaissance tenor flute. Alto flute headjoints are built in curved and straight versions, however, the straight version is more commonly used for better overall intonation. The embouchure for alto flute is similar to that for C flute, hence the embouchure-hole sits lower on the lower lip, and the lip-aperture is wider. The following lists are not intended to be complete, but rather to present a representative sampling of the most commonly played and it is featured in Ravels Daphnis et Chloé, Stravinskys The Rite of Spring, Franco Alfanos opera Cyrano de Bergerac, and Sergei Prokofievs Scythian Suite. Shostakovich used it in his operas The Gamblers, Lady Macbeth of the Mtsensk District and it also figures prominently in several movements of Gustav Holsts The Planets. It also appears in Howard Shores music for The Lord of the Rings among many other film scores. A number of specialist alto flute players have emerged in recent years
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Bass flute
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The bass flute is the bass member of the flute family. It is in the key of C, pitched one octave below the concert flute, because of the length of its tube, it is usually made with a J-shaped head joint, which brings the embouchure hole within reach of the player. It is usually used in flute choirs, as it is easily drowned out by other instruments of comparable register. Prior to the century, the term bass flute was sometimes used, especially in Great Britain. In 1910 Abelardo Albisi invented a bass flute known as the albisiphone which was used in scores by Mascagni, the instruments sounding range is from C3, one octave below middle C, to C6, two octaves above middle C. Bass flute music sounds an octave lower than it is written, notes written above A6 are not often used as they are difficult to produce and have inferior tone. Because manufacturers do not taper the flute body through the curve, intonation of all notes beginning with written D6, the player can bend them in tune through blowing technique or use alternative fingerings. Bass flutes often have a C foot rather than the B foot common to other flutes, the shorter tube reduces acoustic resistance, which quickens the response and makes the tone brighter, livelier, and more resonant. The shorter tube also makes the instrument somewhat lighter and less fatiguing for the player to hold, Bass flutes are most often made with silver-plated bodies and head joints. Most basses come with trill keys which allow the player to some otherwise unstable middle register notes as well as trill between otherwise impossible notes. Kotato basses have addressed the problem of bass flutes by designing a graphite rod that screws onto the underside of the instrument. Adjustable rods have also developed by Jeff Amos. Other manufacturers have added a left hand thumb support called a crutch, many composers are beginning to write more pieces for the bass flute. Studies and concert etudes are beginning to appear that address the many challenges. Peter Sheridan has commissioned and arranged new compositions in this area, the sixth movement of Claude Bollings suite for Flute and Jazz Trio, Versatile has the soloist playing the opening melody on a bass flute. Morton Feldmans composition Crippled Symmetry has a part for the bass flute, hans Pfitzners 1917 opera Palestrina features an early C bass flute part. For an extensive list of repertoire for flute and contrabass flute see Repertoire Catalogue for Piccolo, Alto Flute. Selected repertoire graded into ability levels with short descriptions and information about basses can be found in The Alto and Bass Flute Resource Guide published by Falls House Press
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Contrabass flute
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The contrabass flute is one of the rarer members of the flute family. Very few are competent at the contrabass flute, at the top of this short list is renowned flautist Laura Hyder. It is used mostly in flute ensembles and its range is similar to that of the regular concert flute, except that it is pitched two octaves lower, the lowest performable note is two octaves below middle C. Many contrabass flutes in C are also equipped with a low B, sometimes referred to as the gentle giant of the flute family, the contrabass retains the facility for trills, as found elsewhere in the flute world. Ease of arpeggiation is moderate and thus equivalent to the rest of the flute family, the upper registers lack the strength of tone found in its cousins, the strongest register is arguably that between G2 and G3. Though the upper register can lack strength, its sensitivity and lyricism can be used to effect. The haunting low register has similar qualities to the bassoon, the contribution that the addition of the contrabass flute has made to the composition of flute choirs is enormous, offering at last the grounding of a true and deep bass sound. A wider, slower air stream is needed to produce a solid tone, the contrabass flute in C is produced by the Japanese firm of Kotato & Fukushima, Eva Kingma, and Christian Jäger from Munich. Jupiter flutes has created a student model for flute ensembles, Contrabass flutes have also been made from PVC pipe, by the Dutch flute maker Jelle Hogenhuis. It is reported that while it might be thought that an instrument made from PVC would be inferior, PVC also permits more rough treatment, as the plastic instrument can be bumped without denting. As a virtuoso solo instrument, even a few concertos have been composed for the contrabass flute, Catherine McMichael composed a concerto for low flutes and orchestra in 2006 entitled Three Philosophies, in which one of the movements features the contrabass flute. In April 2008 the well structured concerto Bantammers Swing for contrabass flute, in 2010, the Lyric Concerto for contrabass flute and strings was commissioned by Sheridan from the late Australian composer Bruce Lawrence. Nola by composer Benjamin Yusapov, was commissioned by the International soloist Matthias Ziegler, for multiple Low Flutes and orchestra. Numerous composers have written for the flute, including Wil Offermans, Robert Dick, Thomas Seelig, Andrew Downes, Catherine McMichael. Furthermore, the flute is being utilized more in the flute choir with most newer pieces including a part for the instrument. Though for many pieces, the part is either a duplicate or simplification of the flute part. Composers of such pieces include Peter Senchuk, Toby Caplan-Stonefield, Lawrence Ink, Phyllis Avidan Louke, one is a contrabass flute in G, pitched a fourth below the bass flute and an octave lower than the alto flute, thus, this is technically, a contra-alto flute. Contrabass flute by Jelle Hogenhuis Lowflutes. com Peter Sheridan Contrabass flute page on Contrabass. com Photo of Maria Ramey playing Kotato contrabass
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Subcontrabass flute
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The subcontrabass flute is one of the largest instruments in the flute family, measuring over 15 feet long. The subcontrabass flute is used outside of flute ensembles. It is sometimes called the giant of the flute family because of its gentle sound. At present, the flute is an instrument that must be custom ordered. It may be out of PVC or metal. This instruments unique sound quality, dark tone, and at times sluggish articulation make for excellent solo opportunities. A workable range of two and a half octaves the instrument has some issues, though the Hogenhuis models designed from PVC can make a fine, vibrant. Due to the instruments bore width, the possibilities are almost endless, with excellent response to overtones, singing tones. C3–G3 sounds rich and it has great opportunities for dynamic power, a3–D4 The tone becomes less secure and loses some of the lower partials and it is great for blending. E4–C5 has a weaker and somewhat unfocused pitch center which may be a choice for blend or effect. And the Giant Began to Dance. on the album Below, http, //www. hogenhuis-flutes. com/pages/subcontrabaseflute. html Subcontrabass flute by Jelle Hogenhuis Eva Kingma subcontrabass flute in G Eva Kingma subcontrabass flute in G Peter Sheridan
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Double contrabass flute
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The double contrabass flute with over 18 feet of tubing is the largest and lowest pitched metal flute in the world. It is pitched in the key of C, three octaves below the concert flute and its lowest note is C1, one octave below the cellos lowest C. This flute is relatively easy to play in comparison to most other large flutes, the Japanese firm of Kotato & Fukushima sell their double contrabass flutes for US$38,000. Their main use has been in large flute choirs and occasionally in film scores, although the PVC instrument was designed to be an ensemble instrument it was soon discovered by various solo artists who saw the merits of the instrument for their musical purposes. The bore is wider than one usually finds in a metal double contrabass flute. The instrument is comparatively light, weighing only 7 kg, in addition, the PVC appears to produce a broad tone. Photo of double contrabass flute MP3 of Jelle Hogenhuis subcontrabass flute
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Hyperbass flute
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The hyperbass flute is the largest and lowest pitched instrument in the flute family, with tubing reaching over 15 metres in length. It is pitched in C, four octaves below the concert flute, with its lowest note being C0, at 16 hertz, this is below what is generally considered the range of human hearing. The hyperbass flute is made of PVC and wood, there appear to be wide tone holes, made from standard tee fittings, but without keys, these are covered with the palms of the hands. The first known example of the instrument was built by Francesco Romei, Fabbriciani is the inventor and primary performer of this instrument. He calls it hyperbass flute and flauto iperbasso in Italian, low flute specialist Peter Sheridan commissioned the first fully chromatic hyperbass flute from the Dutch maker Jelle Hogenhuis in August 2010. The first composition for the flute with live electronics and magnetic tape is Persistenza della memoria by Alessandro Grego. In 2002, the Italian composer Nicola Sani composed Con Fuoco, the track was released on a CD entitled Elements on the Stradivarius label. In March 2005 Fabbriciani released an entire CD of music for flute and tape. In 2009, Roberto Fabbriciani released another hyperbass flute CD entitled Nella basilica, in 2010, Roberto Fabbriciani released another hyperbass flute CD entitled Winds of the Heart, this time with tárogató player Esther Lamneck, on the Innova label. Differing Dialogues by Monash University composer Vincent Giles, is set for solo flute with pre-recorded low flutes. In 2013, Roberto Fabbriciani released another hyperbass flute CD entitled Alchemies, the Hyperbass flute was Item 64 of the 2014 University of Chicago Scavenger Hunt list. Discussion of hyperbass flute Roberto Fabricianis youtube page, featuring works of the flauto iperbasso
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Anasazi flute
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The team excavated 15 caves and the largest among them had 16 dwellings and many artifacts including several wooden flutes, which gave the site its name, the Broken Flute Cave. The flutes found in the cave were dated between 620 and 670 AD and they were all made of Box elder, have six finger holes and are end-blown. It is similar in respects to a Hopi flute, which has only five finger holes. A detailed analysis using radiocarbon dating techniques was published in 2007, the analysis included one item from a burial pit in the Broken Flute Cave. The dating placed the artifact in the range 599–769 AD, the Anasazi flute has in recent years been reproduced and restored to the catalog of World flutes. While difficult to play in many respects, it has a rich, warm voice that spans a little over one, kokopelli Pueblo Flutes, Aluaki at the Wayback Machine The term Anasazi, Aluaki
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Danso
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The danso is a Korean notched, end-blown vertical bamboo flute used in Korean folk music. It is traditionally made of bamboo, but since the 20th century it has also made of plastic. The instrument is derived from the Chinese xiao and is used as a tool in Korean primary schools. The flute has four holes and one thumb hole at the back. The playing range is two octaves, going from low G to high G, the lower sounds are made by just blowing, whereas the higher ones are made by difference in the strength of the blowing. The dan in the name means short, and so refers to the notched. Another Korean end-blown vertical bamboo flute, the tungso, is longer, tungso Xiao Quena Traditional Korean musical instruments Music of Korea Bamboo musical instruments
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Frilka
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The frilka is a more perfected form of the sopilka, a traditional Ukrainian flute. The frilka is a version of the floyarka. The frilka is characterized as an open-ended notched flute and it is a pipe of approximately a 20 cm in length. One end is sharpened and the breath is broken against one of the sides of the tube at the playing end, six holes in groups of three are burnt out in the center of the instrument. It was often played at funerals in the Carpathian mountains, shepherds were also able to accompany themselves with glutteral humming which produced an ostinato tone or drone. The frilka is often called a floyarka or sometimes zubivka in central Ukraine, ISBN 966-575-111-5 Samples and Pictures of Ukrainian Instruments
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Hotchiku
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Hotchiku, sometimes romanized as hocchiku or hochiku, is a Japanese end-blown flute, crafted from root sections of bamboo. After cleaning and sanding, the root end of the bamboo stalk reveals many small circular knots where the roots formerly joined the stalk. The same part of the plant is also used to produce the shakuhachi but, unlike the shakuhachi. The membranes at the nodes inside a hotchiku bore are generally more intact than those of a shakuhachi. Together, these make for a visibly and audibly raw. Hotchiku are sometimes referred to as jinashi nobekan, meaning without ji, hotchiku have four holes down the front for fingers and one hole on the back for the thumb of the upper hand. Hotchiku are typically, though not always, longer than shakuhachi and this property, along with the unlacquered bore, results in a rough and breathy timbre. Because of its extremely natural construction, the hotchiku is commonly used for Suizen, since hotchiku are not generally tuned to a standard musical scale, they do not commonly accompany other instruments
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Shakuhachi
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The shakuhachi is a Japanese end-blown flute. It was originally introduced from China into Japan in the 6th century, the shakuhachi is traditionally made of bamboo, but versions now exist in ABS and hardwoods. It was used by the monks of the Fuke school of Zen Buddhism in the practice of suizen, the instrument is tuned to the minor pentatonic scale. The name shakuhachi means 1.8 shaku, referring to its size and it is a compound of two words, shaku is an archaic unit of length equal to 30.3 centimeters and subdivided in ten subunits. Hachi means eight, here eight sun, or tenths of a shaku, thus, shaku-hachi means one shaku eight sun, the standard length of a shakuhachi. Other shakuhachi vary in length from about 1.3 shaku up to 3.3 shaku, although the sizes differ, all are still referred to generically as shakuhachi. Shakuhachi are usually made from the end of a bamboo culm and are extremely versatile instruments. Much of the shakuhachis subtlety lies in its rich tone colouring, different fingerings, embouchures and amounts of meri can produce notes of the same pitch, but with subtle or dramatic differences in the tone colouring. Holes can be covered partially and pitch varied subtly or substantially by changing the blowing angle, the honkyoku pieces rely heavily on this aspect of the instrument to enhance their subtlety and depth. Pitches may also be lowered by shading or partially covering finger holes, since most pitches can be achieved via several different fingering or blowing techniques on the shakuhachi, the timbre of each possibility is taken into account when composing or playing. The shakuhachi has a range of two octaves and a partial third octave. The various octaves are produced using subtle variations of breath and embouchure, a 1.8 shakuhachi produces D4 as its fundamental—the lowest note it produces with all five finger holes covered, and a normal blowing angle. In contrast, a 2.4 shakuhachi has a fundamental of A3, as the length increases, the spacing of the finger holes also increases, stretching both fingers and technique. Longer flutes often have offset finger holes, and very long flutes are almost always made to suit individual players. Some honkyoku, in particular those of the Nezasaha school are intended to be played on these longer flutes. Due to the required, the time involved, and the range of quality in materials to craft bamboo shakuhachi. Specimens of extremely high quality, with inlays, or of historical significance can fetch US$10,000 or more. Shakuhachi made of wood are also available, typically costing less than bamboo, nearly all players, however, prefer bamboo, citing tonal qualities, aesthetics, and tradition
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Gudi (instrument)
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The Jiahu gǔdí is the oldest known musical instrument from China, dating back to around 6000 BC. These bone flutes were excavated in 1986 from a neolithic tomb in Jiahu, Wuyan County, Henan Province. They have been dated to 6000 BC and these bone flutes have average dimensions of approximately 20 cm ×1.1 cm, and are made from the wings of the red-crowned crane. They are open-ended and vary in the number of their holes, from one to eight. Jiahu bone whistles are much shorter than the flutes, with lengths of 5.7 to 10.5 cm, the number of holes and the spacing between the holes determined the musical range and scale or mode in which the flute was intended to function. Lee and Shen believed that the Chinese understood the resonance of an air column and were able to create an instrument that contained their complete interval preference of Chinese music. Blowing across the end of an end-blown bone flute to produce a musical sound, is accomplished in the same way. The eight-holed flute can play all harmonic intervals and two registers and these harmonic intervals are said to be a function of culture and were of a larger set compared to that now familiar in the West. Bone flutes were also played as part of sacrificial rites. Gudi are not very common now, but there are some today who play them. Paleolithic flutes Divje Babe Flute Chinese flutes Dizi End-blown flute Music of China Traditional Chinese musical instruments Chang, canada, The Institute of Mediaeval Music,1993. Chicago, Chinese Music Society of North America,1999, China, A Journey into Its Musical Art. Chicago, Chinese Music Society of North America,2000, Music in the Age of Confucius. Freer Gallery of Art and Arthur M Sackler Gallery,2000, “Archaeology and History of Musical Instruments in China”. The Garland Encyclopedia of World Music East Asia, China, Japan, provine, Yosihiko Tokumaru, and J Laurence Witzleban. Zhang, JuZhong, Garman Harboolt, Changsui Wang, and ZhaoChen Kong, “Oldest playable musical instrument found at Jiahu early Neolithic site in China. ”Wuyang Jiahu gudi de ceyin yanjiu. Reprinted in 黄翔鹏文存,2 vols, edited by Zhongguo Yishu Yanjiuyuan Yinyue Yanjiusuo, jinan, China, Shandong Wenyi Chubanshe,2007. Jiahu guiling gudi yu Zhongguo yinyue wenming zhi yuan, flutes under Wind Section Musical Description at the Wayback Machine Natural History Magazine Turkey Bone Flute Samples in Article
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Kaval
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The kaval is a chromatic end-blown flute traditionally played throughout the Balkans and Turkey. The kaval is primarily associated with mountain shepherds, unlike the transverse flute, the kaval is fully open at both ends, and is played by blowing on the sharpened edge of one end. The kaval has 8 playing holes and usually four more unfingered intonation holes near the bottom of the kaval, as a wooden rim-blown flute, kaval is similar to the kawala of the Arab world and ney of the Middle East. While typically made of wood, kavals are also made from buffalo horn, Arundo donax Linnaeus 1753, metal. A kaval made without joints is usually mounted on a wooden holder, according to the key, the kaval can be in the high register, middle or low. The kaval plays two octaves and a fifth, in the chromatic scale and its sound is warm, melancholic and pleasant. While in the past it was almost entirely a shepherds instrument, today it is used in folk songs. Unlike the transverse flute, the kaval is fully open at both ends, and is played by blowing on the edge of one end. The kaval has 8 playing holes and usually 4 more near the bottom of the kaval and these holes are not used for playing the instrument, but determine the lowest tones pitch and timbre and are supposed to improve tone and intonation. In Bulgaria they are known as devils holes, based on a tale in which the devil tries to out-play a shepherd in a musical duel. While the shepherd is sleeping, the drilled holes in the shepherds kaval but instead of ruining the kaval. In Macedonia they are known as glasnici meaning giving voice to/of, the mouth covers ~¾ of the end. Change of the air pressure also changes the pitch. The kaval that is most common in Bulgaria is the one in middle register, the kaval in lower register is also not uncommon for this country. What is characteristic for the Bulgarian style of performance is the incredible diversity of sound shades and techniques. According to the pitch there are four different registers that can be achieved with the Bulgarian kaval, what controls which register the performer works in is mostly the air flow and to some extent the position of the mouth and the lips on the end of the kaval. A very characteristic sound of kaval is achieved in the lowest register and it could sound very mild and gentle if blown lightly while by changing the air stream a deeper sound is achieved. This sound is so outstanding that some consider it another register that they call - kaba and it is also very interesting to notice that the technique of circular breathing is successfully utilized while playing the kaval
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Ney
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The ney, is an end-blown flute that figures prominently in Middle Eastern music. In some of musical traditions, it is the only wind instrument used. The ney has been played continuously for 4, 500–5,000 years, the Persian ney consists of a hollow cylinder with finger-holes. Sometimes a brass, horn, or plastic mouthpiece is placed at the top to protect the wood from damage, the ney consists of a piece of hollow cane or giant reed with five or six finger holes and one thumb hole. Modern neys may be instead of metal or plastic tubing. The pitch of the ney varies depending on the region and the finger arrangement, in Romanian, the word nai is also applied to a curved pan flute while an end-blown flute resembling the Arab ney is referred to as caval. The typical Persian ney has 6 holes, one of which is on the back, Arabic and Turkish neys normally have 7 holes,6 in front and one thumb-hole in the back. The interval between the holes is a semitone, although microtones are achieved via partial hole-covering, changes of embouchure, microtonal inflection is common and crucial to various traditions of taqsim. Neys are constructed in various keys, advanced players will typically own a set of several neys in various keys, although it is possible to play fully chromatically on any instrument. Gargy-tuyduk this is a reed flute whose origin, according to legend, is connected with Alexander of Macedonia. The sound of the gargy-tuyduk has much in common with the two-voiced kargyra, during the playing of the gargy-tuyduk the melody is clearly heard, while the lower droning sound is barely audible. The allay epic songs have been described by the Turkologist N. Baskakov who divides them into three types, a) Kutilep kayla, in which the second sound is a light drone. B) Sygyrtzip kayla, with a whistling sound like the sound of a flute. C) Kargyrlap kayla, in which the sound can be defined as hissing. The sound of the Turkmen gargy-tuyduk is most like the Altay Kargyrkip kayla, the garg-tuyduk can have six finger holes and a length of 780 mm or five finger holes and a length of 550 mm. The range of the garg-tuyduk includes three registers, 1) The lowest register – non-working – is not used during the playing of a melody, 2) The same as on the non-working register but an octave higher. 3) High register from mi of the octave to ti. The Pamiri nay is a flute made of wood or, in Eastern Badakhshan
