THE FIRST FLUTE:

Legend states that a woodpecker gifted a young brave the first flute, but it would not play. He had to first humble himself before it would sing. Since the heart of the cedar had been removed from the flute, it was his duty as a flute player to replace it with his own when he played. Later, young men would craft their flutes out of a split branch or river cane. The sizes of their particular body parts such as thumb widths and arm lengths were often used as measurements for barrel size and hole location. This system allowed them to come very close to what is now a relatively standardized configuration. The Native American flute was used by many tribes for many different reasons. Some tribes used the flute for ceremonial reasons, in others young braves would use it to try and win the hands their hopeful brides to be. And still in others it would be used for a meditation like way to empty one's self of all the things which could not be expressed in words, as was often the case with the Woodlands Flute.

TECHNIQUE:

An easy way for beginners to make the Native flute sound good is to make sure that no hole closer to the mouthpiece is uncovered when a hole further down the flute is covered-with the exception of the hole used to obtain different modes (hole 3 or 4 from the flutes foot). Be sure to use the pads of your fingers rather than your fingertips. By using the pads, it helps to insure full coverage of the holes (without full coverage you may get squeaking or untrue sounds). One can look to the horizon or to a plant or garden for highs and lows peaks and valleys. Sheet music is available, but some searching may be required. Most songs were passed on by teaching and were never written down. The world around us contains countless songs in the form of nature-look to the world around you for inspiration.

THE BLOCK:

The Bird, totem, or block on the top of your flute is part of the sound mechanism, and is essential to proper function. The bird can be adjusted to sharpen or flatten the tone (to a small degree) but usually makes its truest sound when the bottom front is lined up with the back of the true sound hole. Each handcrafted flute is tuned with the bird or totem in this position. If your flute sounds funny, look here first to make sure that it is aligned properly. The tone of your flute will be susceptible to climactic changes, and may vary up to a half of a note with variations in temperature.

CARE OF YOUR FLUTE:

During playing, your flute may have condensation build up in the air chamber. Depending on how long you have been playing, this moisture may get up into the focusing channel and affect the sound of the flute. To temporarily cure this problem, if one wishes to continue playing, simply plug all the holes and blow hard into the flute to purge some of the moisture. This may make a loud sharp sound, so if you are somewhere where this would be offensive you can put your finger under the roof of the bird by the true sound hole to silence this effect. You may even wish to slide the bird back or even remove it to wipe the focusing channel clear (never use your fingers). When you are done playing be sure to always store the flute in a position where the moisture will not pool in the flute. To do this store it with the mouthpiece pointing down in a vertical position on a soft cloth. For longer sessions I suggest removing the bird to help let it air dry. Avoid leather flute bags until the flute is dry, as they do not breathe well. Do not store your flute where it will be susceptible to extreme temperature conditions--such as in the sun, or in the car in the winter. Your flute is a simple instrument that, if treated with care, should bring you a lifetime of musical pleasure.

ABOUT THE ARTIST:

Colyn Petersen was born of Northern European Heritage in 1967 in Eastern Iowa. In 1997, feeling as though he had missed out as a child, he set out to learn to play a musical instrument. After a brief survey of available instruments he decided on the Native Flute. First he tried to make one with the help of some books by Lew Paxton Price, but it did not work. Discouraged and disappointed he saved money to buy a flute. Within a week its arrival, he had created his very own--understanding better with a visual representation what the book had been trying to explain. It was at that time that he realized his first purchase was overpriced and did not play well, for his very first successful flute sounded better than the one he had bought. With this as inspiration and having discovered the pure joy of creating a musical instrument, he set out on the path to become a better flute maker. When his mother heard he had chosen the NA flute, she said "Doesn't surprise me, whenever he heard the Native Flute as a kid, he stopped dead in his tracks to listen."

Since his first flute, Colyn has worked very hard to improve his skills, making great strides in sound along the way. In June of 2000 Colyn quit his job as a Graphic Artist to become a full time parent for his new son Samuel and to also devote more time to the flute. Colyn works out of his basement in Omaha, Nebraska and enjoys speaking with other flute makers and enthusiasts as well as seeing and hearing their work. He believes in promoting cooperative and collaborative flute relationships rather than competitive ones and in making a good flute for a good price.