Native Flutes Contemporary Construction

The craft of flute making has also re-emerged and developed into a high artform. Crafters today are producing flutes that far exceed anything created during the historic period, both in beauty and sound. Again, the links page lists the more prominent of the current flute makers.

Historic Construction

Historic flutes were made from a number of woods, including ash, box elder, cane, and pipewood, but cedar (both the eastern and western varieties) was used the most. Many were made of cane and giant grass. Some flutes were hollowed or bored out, using a wooden bowed borer. A wood rod with a stone tip was wrapped in a bow that when moved back and forth, would drill out the center of the flute. In later years, a heated iron rod was used for the boring. Other flutes were made from two halves, sometimes glued together with tree pitch, and wrapped together with hide or sinew. The open end of the flutes were sometimes carved in the shape of a bird or other creature. Some flutes of the Southwest were made of clay.

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Modern Construction

As mentioned earlier, the later half of the 20th century saw a tremendous evolution in the native flute, both in designs and tunings. One of the most prominent developments was the popularization of the "Woodlands" flute.

There seems to be a certain amount of confusion and controversy surrounding what exactly distinguishes a "Woodlands" flute from a "Plains" flute. According to Mac Lopez (Whirlwind Studio), it's actually a combinaton of both construction techniques and design elements. One misconception is in regards to the "flue" or channel between the two sound chambers. On a Woodlands flute, this flue is almost always carved into the flute, but on a Plains flute, it can be carved either in the flute or in the block. Likewise, most Plains flutes have tapered mouthpieces that fit between the lips, while most Woodlands flutes have large blunted mouthpieces that fit against the lips, but there are exceptions in both cases. In construction, on Plains flutes, holes are most often bored or drilled while on Woodlands flutes, holes are most often burned with rods, but again, there are exceptions. Perhaps the most distinctive difference is the fipple or spliting edge on the far edge of second sound hole (closest to the finger holes). On a Plains flute, this edge is sharp while on a Woodlands flute, this edge is blunted.

The native flute is comprised of a number of components that all contribute to production of sound and the tonal quality. There are actually several different sets of terminology to identify the various parts of the flutes. None are any more correct than the others. The terms used here is one such set.

The contemporary methods for constructing flutes are as varied as the number of flute makers. One of the construction methods is the split half method. It first begins with a block of wood, which may be a solid piece or a composite piece of several pieces glued together. Many will do the general exterior carving or lathing at this point. Next the piece is cut in half, either by hand or using a band saw. The next step is the carving or boring out of various internal chambers. Particular attention is given to the bridge and fipple area (where the block is located). This is the heart of the flute, which determines the quality of the tone. Each flutemaker has their own designs, dimensions and other secret stuff.

The two halves are glued together, the critical thing being using a glue that is impervious to moisture. Those who haven't done exterior shaping do it now. Next comes the boring or drilling of finger holes, according to formulas to achieve particular tunings. Many use the four-direction holes (at the end of the flute) to define the "end" of the flute in conjunction with the tuning. Others use flute length and thus the actual end of the flute to determine the end of the flute. Most of the final sanding is done at this point.

Next comes any additional carvings, wood-burnings, painting or inlays. Finally comes whatever finish the maker uses, which may be polyurethane, beeswax, or oils. The block is fitted to the flute either during flute construction or after it is done.

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Types of Wood

Flutemakers today use a wide variety of woods: hardwoods, softwoods and exotic varieties, both domestic and foreign. Click here to view of chart of wood type examples. Keep in mind that the pictures only give general sense of appearance. Western cedar, for example, can have a multitude of shades.

Woods are divided generally into two categories - softwoods and hardwoods, with hardwoods further divided. The types of wood listed below are arranged from the softest to the hardest or high resonance to lower resonance (courtesy of Barry Higgins of White Crow Flutes):

Soft Woods - Western Red Cedar, Butternut, Select White Pine, and Basswood.
Soft Hardwood - Recovered Chestnut, Poplar, Redwood, Spruce, Fir.
Medium Hardwoods - Yellow Cedar, Aromatic Cedar, Black Walnut, Cherry, Hickory, Mahogany.
Hard Hardwoods - Red/Yellow Birch, Hard/Soft/Tiger/Birdseye Maples, Ash, Beech, and Oak.

What sound each kind of wood produces is open to debate. Most will tell you that hardwoods produce a "mellow" sound and softwoods produce a "crisp" sound, but there are others who will tell you the opposite. To further complicate matters, players themselves will hear their owns differences in the sounds of various wood types. Ultimately, it will come down to you finding a flute that produces the sound you want.

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The Block

The block (also called the bird, the totem, the fetish and the saddle) involves as much artistry as the flute. All are hand carved and each must be fitted to a specifc flute. Most use a wood different from the flute and some just use one type of wood for all their blocks.

As to the shape of the block, some makers use a signature shape. Michael Gulino of Moonlight Creek Flutes uses the coyote because he sees coyotes most every day. Matt Stewart of Stellar Flutes uses the loon because loons are common around the Stewart home. Typically, a signature block will be a stylized form. A stylized form is an artistic representation of a creature. It doesn't have much detail, but you usually tell what kind of creature it is.

Many flute makers will offer finely crafted blocks, some even painted. They include great detail and are works of art in themselves. Clicking here will give you a list of some common creatures used in block carving and their corresponding meaning or symbology.

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Flute Decoration

Apart from the functionality of the flute, numerous maker will add or offer decoration. This may be in the form of appliques, woodburning, endcaps, and inlays, as well as wraps which might include leather thongs, beads, feathers and fringe. These decorations add not only to the appearance of the flute, but I believe to its spirit as well.

You also can add your own decoration once you have the flute. I'd like to make a suggestion here. Instead of going with general symbolic objects, such as eagle feathers and beads, use objects that are a part of your own world, that symbolize something in your life. For instance, seagulls, crows and sparrows are a part of my world; it is their feathers I use. I also made use of a tiny dreamcatcher given to me by a Muckleshoot woman who thought it would look nice on the flute I was playing at the time.

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Modern Construction
As mentioned earlier, the later half of the 20th century saw a tremendous evolution in the native flute, both in designs and tunings. One of the most prominent developments was the popularization of the "Woodlands" flute. There seems to be a certain amount of confusion and controversy surrounding what exactly distinguishes a "Woodlands" flute from a "Plains" flute. According to Mac Lopez (Whirlwind Studio), it's actually a combinaton of both construction techniques and design elements. One misconception is in regards to the "flue" or channel between the two sound chambers. On a Woodlands flute, this flue is almost always carved into the flute, but on a Plains flute, it can be carved either in the flute or in the block. Likewise, most Plains flutes have tapered mouthpieces that fit between the lips, while most Woodlands flutes have large blunted mouthpieces that fit against the lips, but there are exceptions in both cases. In construction, on Plains flutes, holes are most often bored or drilled while on Woodlands flutes, holes are most often burned with rods, but again, there are exceptions. Perhaps the most distinctive difference is the fipple or spliting edge on the far edge of second sound hole (closest to the finger holes). On a Plains flute, this edge is sharp while on a Woodlands flute, this edge is blunted. The native flute is comprised of a number of components that all contribute to production of sound and the tonal quality. There are actually several different sets of terminology to identify the various parts of the flutes. None are any more correct than the others. The terms used here is one such set.

The contemporary methods for constructing flutes are as varied as the number of flute makers. One of the construction methods is the split half method. It first begins with a block of wood, which may be a solid piece or a composite piece of several pieces glued together. Many will do the general exterior carving or lathing at this point. Next the piece is cut in half, either by hand or using a band saw. The next step is the carving or boring out of various internal chambers. Particular attention is given to the bridge and fipple area (where the block is located). This is the heart of the flute, which determines the quality of the tone. Each flutemaker has their own designs, dimensions and other secret stuff.

The two halves are glued together, the critical thing being using a glue that is impervious to moisture. Those who haven't done exterior shaping do it now. Next comes the boring or drilling of finger holes, according to formulas to achieve particular tunings. Many use the four-direction holes (at the end of the flute) to define the "end" of the flute in conjunction with the tuning. Others use flute length and thus the actual end of the flute to determine the end of the flute. Most of the final sanding is done at this point. Next comes any additional carvings, wood-burnings, painting or inlays. Finally comes whatever finish the maker uses, which may be polyurethane, beeswax, or oils. The block is fitted to the flute either during flute construction or after it is done.

The Block
The block (also called the bird, the totem, the fetish and the saddle) involves as much artistry as the flute. All are hand carved and each must be fitted to a specifc flute. Most use a wood different from the flute and some just use one type of wood for all their blocks. As to the shape of the block, some makers use a signature shape. Michael Gulino of Moonlight Creek Flutes uses the coyote because he sees coyotes most every day. Matt Stewart of Stellar Flutes uses the loon because loons are common around the Stewart home. Typically, a signature block will be a stylized form. A stylized form is an artistic representation of a creature. It doesn't have much detail, but you usually tell what kind of creature it is.

Many flute makers will offer finely crafted blocks, some even painted. They include great detail and are works of art in themselves. Clicking here will give you a list of some common creatures used in block carving and their corresponding meaning or symbology.

Flute Decoration
Apart from the functionality of the flute, numerous maker will add or offer decoration. This may be in the form of appliques, woodburning, endcaps, and inlays, as well as wraps which might include leather thongs, beads, feathers and fringe. These decorations add not only to the appearance of the flute, but I believe to its spirit as well. You also can add your own decoration once you have the flute. I'd like to make a suggestion here. Instead of going with general symbolic objects, such as eagle feathers and beads, use objects that are a part of your own world, that symbolize something in your life. For instance, seagulls, crows and sparrows are a part of my world; it is their feathers I use. I also made use of a tiny dreamcatcher given to me by a Muckleshoot woman who thought it would look nice on the flute I was playing at the time.