DOCSLIB.ORG

Native American Flute Fingerings PDF File

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Native American Flute Fingerings PDF File Native American Flute Fingerings This document provides fingerings charts that work on many Native American Flutes. Versions are included for six-hole and five-hole flutes with pentatonic minor tuning as well as six-hole diatonic flutes. Most fingering charts are provided with finger diagrams in two orientations: mouth-end up and mouth end down (“inverted”). The primary fingerings for each chromatic note are shown in black, with alternate fingerings shown in blue. This document is part of a collection of Native American Flute resources available at http://www.Flutopedia.com/. The Flutopedia web site includes, among many other things, an extensive set of finger diagram fonts for engraving sheet music that are similar to the finger diagrams in this document. All fonts have been embedded in this PDF file, so that it should display identically on various systems. You are free to distribute unmodified versions of this document. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. This document was last updated August 9, 2014 by Clint Goss [[email protected]] Native American Flute Fingerings Six-hole flutes — Pentatonic Minor Tuning Nakai Tablature for Native American Flute Developed by Clint Goss Minor Major Minor Major Flat Five / # Root Second Second Third Third Fourth Augmented Fourth ## # nQ & q nq q q #q Q “La” “Do” “Re” 1 ' 2 3#4$@Øø Minor Major Minor Major # ## Fifth Sixthn Sixth SeventhQ SeventhnQ OctaveQ & # Q Q Q “Mi” “Sol” “La” 5 6Â%Ô ^´% 7¼ &)Ë-¶À~ 8`¾ Minor Ninth Major Ninth Minor Tenth Major Tenth EleventhQ # # nQ Q Q “Do” # Q “Re” & # # *Ü{( }9 0% 9 ) Notes: Color Key: Black for primary fingering - The names above each note is the interval from the Root note. Blue for alternate fingerings 7 - The purple syllables (“La” ) are theSolfège names. Orange for half-hole ¼ fingerings or trills - The fingerings on each flute must be explored - 2in the lower register find the fingering that sounds best on each flute. - Notes from the Major Ninth and up may not resonate on a particular flute, and the Major Tenth and up resonate only on “extended range” flutes. Visitwww.Flutopedia.com for more Native American Flute resources Updated August 9, 2014 Native American Flute Fingerings Six-hole flutes—— Pentatonic Minor Tuning Inverted Finger Diagrams Nakai Tablature for Native American Flute Developed by Clint Goss Minor Major Minor Major Flat Five / # Root Second Second Third Third Fourth Augmented Fourth ## # nQ & q nq q q #q Q “La” “Do” “Re” 1 ' 2 3#4$@Øø Minor Major Minor Major # ## Fifth Sixthn Sixth SeventhQ SeventhnQ OctaveQ & # Q Q Q “Mi” “Sol” “La” 5 6Â%Ô ^´% 7¼ &)Ë-¶À~ 8`¾ Minor Ninth Major Ninth Minor Tenth Major Tenth EleventhQ # # nQ Q Q “Do” # Q “Re” & # # *Ü{( }9 0% 9 ) Notes: Color Key: Black for primary fingering - The names above each note is the interval from Blue for alternate fingerings the Root note. 7 - The purple syllables (“La” ) are theSolfège names. Orange for half-hole ¼ fingerings or trills - The fingerings on each flute must be explored - 2in the lower register find the fingering that sounds best on each flute. - Notes from the Major Ninth and up may not resonate on a particular flute, and the Major Tenth and up resonate only on “extended range” flutes. Visitwww.Flutopedia.com for more Native American Flute resources Updated August 9, 2014 Native American Flute Fingerings Five-hole flutes— Pentatonic Minor Tuning Nakai Tablature for Native American Flute Developed by Clint Goss Minor Major Minor Major Flat Five / # Root Second Second Third Third Fourth Augmented Fourth ## # nQ & q nq q q #q Q “La” “Do” “Re” 1 ' 2 3#4$@ø Minor Major Minor Major # ## Fifth Sixthn Sixth SeventhQ SeventhnQ OctaveQ & # Q Q Q “Mi” “Sol” “La” 5 6% ^ 7&~)[AJ 8 Minor Ninth Major Ninth Minor Tenth Major Tenth EleventhQ # # nQ Q Q “Do” # Q “Re” & # # *ah }9h D0% Gf9 HKS) Notes: Color Key: Black for primary fingering - The names above each note is the interval from Blue for alternate fingerings the Root note. 7 - The purple syllables (“La” ) are the Solfège names. Orange for half-hole ) fingerings or trills - The fingerings on each flute must be explored - 2in the lower register find the fingering that sounds best on each flute. - Notes from the Major Ninth and up may not resonate on a particular flute, and the Major Tenth and up resonate only on “extended range” flutes. Visitwww.Flutopedia.com for more Native American Flute resources Updated August 9, 2014 Native American Flute Fingerings Five-hole flutes— Pentatonic Minor Tuning — Inverted Finger Diagrams Nakai Tablature for Native American Flute Developed by Clint Goss Minor Major Minor Major Flat Five / # Root Second Second Third Third Fourth Augmented Fourth ## # nQ & q nq q q #q Q “La” “Do” “Re” 1 ' 2 3#4$@ø Minor Major Minor Major # ## Fifth Sixthn Sixth SeventhQ SeventhnQ OctaveQ & # Q Q Q “Mi” “Sol” “La” 5 6% ^ 7&~)[AJ 8 Minor Ninth Major Ninth Minor Tenth Major Tenth EleventhQ # # nQ Q Q “Do” # Q “Re” & # # *ah }9h D0% Gf9 HKS) Notes: Color Key: Black for primary fingering - The names above each note is the interval from Blue for alternate fingerings the Root note. 7 - The purple syllables (“La” ) are the Solfège names. Orange for half-hole ) fingerings or trills - The fingerings on each flute must be explored - 2in the lower register find the fingering that sounds best on each flute. - Notes from the Major Ninth and up may not resonate on a particular flute, and the Major Tenth and up resonate only on “extended range” flutes. Visitwww.Flutopedia.com for more Native American Flute resources Updated August 9, 2014 Native American Flute Fingerings Six-hole flutes — Diatonic Tuning Nakai Tablature for Native American Flute Developed by Clint Goss Minor Major Minor Major Flat Five / # Root Second Second Third Third Fourth Augmented Fourth ## # nQ & q nq q q #q Q “Do” “Re” “Mi” “Fa” 1 2 3#4 56Â%Ô Minor Major Minor Major # ## Fifth Sixthn Sixth SeventhQ SeventhnQ OctaveQ & # Q Q Q “Sol” “La” “Ti” “Do” ^ 7¼´%Ô ~ &` ( Ü* Minor Ninth Major Ninth Minor Tenth Major Tenth EleventhQ # # nQ Q“Re” Q # Q “Mi” “Fa” & # # }{ Notes: Color Key: Black for primary fingering - The names above each note is the interval from Blue for alternate fingerings the Root note. 7 - The purple syllables (“La” ) are the Solfège names. Orange for half-hole ¼ fingerings or trills - The fingerings on each flute must be explored - 2in the lower register find the fingering that sounds best on each flute. - Notes from the Major Ninth and up may not resonate on a particular flute, and the Major Tenth and up resonate only on “extended range” flutes. Visitwww.Flutopedia.com for more Native American Flute resources Updated August 9, 2014 Native American Flute Fingerings Six-hole flutes — Diatonic Tuning — Inverted Finger Diagrams Nakai Tablature for Native American Flute Developed by Clint Goss Minor Major Minor Major Flat Five / # Root Second Second Third Third Fourth Augmented Fourth ## # nQ & q nq q q #q Q “Do” “Re” “Mi” “Fa” 1 2 3#4 56Â%Ô Minor Major Minor Major # ## Fifth Sixthn Sixth SeventhQ SeventhnQ OctaveQ & # Q Q Q “Sol” “La” “Ti” “Do” ^ 7¼´%Ô ~ &` ( Ü* Minor Ninth Major Ninth Minor Tenth Major Tenth EleventhQ # # nQ Q“Re” Q # Q “Mi” “Fa” & # # }{ Notes: Color Key: Black for primary fingering - The names above each note is the interval from Blue for alternate fingerings the Root note. 7 - The purple syllables (“La” ) are the Solfège names. Orange for half-hole ¼ fingerings or trills - The fingerings on each flute must be explored - 2in the lower register find the fingering that sounds best on each flute. - Notes from the Major Ninth and up may not resonate on a particular flute, and the Major Tenth and up resonate only on “extended range” flutes. Visitwww.Flutopedia.com for more Native American Flute resources Updated August 9, 2014 Native American Flute Fingerings Six-hole flutes— Pentatonic MinorMode 2/5 Tuning ** Nakai Tablature for Native American Flute Fingering diagram by Clint Goss Minor Major Minor Major Flat Five / # Root Second Second Third Third Fourth Augmented Fourth ## # nQ & q nq q q #q Q “Do” “Re” “Mi” “Fa” 1 2 3 4$ Minor Major Minor Major # ## Fifth Sixthn Sixth SeventhQ SeventhnQ OctaveQ & # Q Q Q “Sol” “La” “Ti” “Do” ú Úû ü ý Minor Ninth Major Ninth Minor Tenth Major Tenth EleventhQ # # nQ Q Q “Do” # Q “Re” & # # *Ü{ è ê ì Notes: Color Key: Black for primary fingering - The names above each note is the interval from Blue for alternate fingerings the Root note. 7 - The purple syllables (“La” ) are theSolfège names. Orange for half-hole ¼ fingerings or trills - The fingerings on each flute must be explored - 2in the lower register find the fingering that sounds best on each flute. - Notes from the Major Ninth and up may not resonate on a particular flute, and the Major Tenth and up resonate only on “extended range” flutes. ** Fingerings based on a Mode 2/5 flute made by Leonard “Lone Crow” McGann. Visit www.Flutopedia.com for more Native American Flute resources Updated August 9, 2014 Native American Flute Fingerings Anasazi Tuned Flutes ** Nakai Tablature for Native American Flute Fingering diagram by Clint Goss Minor Major Minor Major Flat Five / # Root Second Second Third Third Fourth Augmented Fourth ## # nQ & q nq q q #q Q “Do” “Re” “Mi” “Fa” 1 2 345 ø Minor Major Minor Major # ## Fifth Sixthn Sixth SeventhQ SeventhnQ OctaveQ & # Q Q Q “Sol” “La” “Ti” “Do” ^ 7Ô ~ä (â òæ Q Major Ninth Minor Tenth Major Tenth TwelfthQ Second Octave # # Q“Re” Q # Q “Mi” “Sol” “Do” & # # è êìôö Notes: Color Key: Black for primary fingering - The names above each note is the interval from Blue for alternate fingerings the Root note.
Load more

Recommended publications
  • Leonard Scott
    LEONARD SCOTT NEY Associate Professor of Music Department of Music • Undergraduate Coordinator University of New Mexico • College of Fine Arts MSC 042570 • Albuquerque, NM 87131-0001 (505) 277-2126 • [email protected] EDUCATION University of Washington 2 years of doctoral classes and all recitals completed Eastern Illinois University Master of Arts - Percussion Performance Boston Conservatory Bachelor of Music - Percussion Performance TEACHING APPOINTMENTS Associate Professor of Music University of New Mexico (2004-present) Assistant Professor of Music University of New Mexico (1998-2004) Graduate Teaching Assistant University of Washington (1996-1998) Lecturer California State University, Fresno (1995-1996) Lecturer Fresno City College (1994-1996) Graduate Teaching Assistant Eastern Illinois University (1988-1990) Coordinator of Percussion Buchanan Educational Center, Clovis, CA (1993-1996) Coordinator of Percussion Bullard High School, Fresno, CA (1991-1993) Assistant Director of Bands Clovis High School, Clovis, CA (1990-1991) COURSES TAUGHT AT UNM APMS 101-502, Sect. 032: Percussion Oversee and instruct graduate and undergraduate percussion performance, education, and Bachelor of Arts majors and music minors. MUS 391/491/591, Sect. 032: Junior/Senior/Graduate Recital: Percussion MUS 560, Sect. 090: Chamber Music - Percussion Ensemble Graduate Student Percussion Ensemble. Graduate students are encouraged to work on their own while being coached by a faculty member. The focus of the group is to perform current trio and quartet literature. MUS 231, Sect. 090: Chamber Music - Percussion Ensemble This is the major chamber ensemble for the undergraduate percussion major. Students perform contemporary percussion repertoire, mallet ensemble repertoire and various folkloric percussion styles including West and East African, Afro-Cuban, Middle Eastern, and Brazilian drumming.
    [Show full text]
  • An Exploration of Physiological Responses to the Native American Flute
    An Exploration of Physiological Responses to the Native American Flute Eric B. Miller† and Clinton F. Goss‡ †Montclair State University, Montclair, New Jersey; Email: [email protected] ‡Westport, Connecticut; Email: [email protected] ARTICLE INFORMATION ABSTRACT Presented at ISQRMM, Athens, This pilot study explored physiological responses to playing and listening to the GA: July 26, 2013 Native American flute. Autonomic, electroencephalographic (EEG), and heart Revised: January 24, 2014 rate variability (HRV) metrics were recorded while participants (N = 15) played flutes and listened to several styles of music. Flute playing was accompanied by This work is licensed under the an 84% increase in HRV (p < .001). EEG theta (4–8 Hz) activity increased while Creative Commons Attribution- playing flutes (p = .007) and alpha (8–12 Hz) increased while playing lower- Noncommercial 3.0 license. pitched flutes (p = .009). Increase in alpha from baseline to the flute playing This work has not been peer conditions strongly correlated with experience playing Native American flutes (r reviewed. = +.700). Wide-band beta (12–25 Hz) decreased from the silence conditions when listening to solo Native American flute music (p = .013). The findings of increased HRV, increasing slow-wave rhythms, and decreased beta support the hypothesis that Native American flutes, particularly those with lower pitches, may have a role in music therapy contexts. We conclude that the Native Keywords: music therapy, American flute may merit a more prominent role in music therapy and that a Native American flute, heart rate variability (HRV), study of the effects of flute playing on clinical conditions, such as post-traumatic EEG, alpha stress disorder (PTSD), asthma, chronic obstructive pulmonary disease (COPD), hypertension, anxiety, and major depressive disorder, is warranted.
    [Show full text]
  • Virtual Art Show Week!
    Verner Elementary School- Grade4 Special Area Lessons for the weeks of April 6 and April 13 For Library and Guidance please select one item from each column of the chart to complete by April 17th. Library-Choose One! Guidance – Choose One! Go to: Acquire a Skill : Research shows when you write openly about how you are feeling, it can make https://sites.google.com/view/rsdliteracy/home difficult feelings fade. Write about something that is challenging and write about your On the 3-4 tab, find the library assignments. Watch experience of this exercise in your journal. the presentation on Haiku. Then, write a Haiku in https://ggia.berkeley.edu/practice/expressive_writing your notebook. Go outside if you need to find inspiration! Find a nice day and read outside. In your notebook, Build a Habit: Awe is a feeling induced by experiences that expand our typical way of seeing the write the title of the book you read and let me world. Noticing AWE creates happiness. Watch this video and journal about your experience. know if you liked reading outside. https://ggia.berkeley.edu/practice/awe_video April 15th is Titanic Remembrance Day. Check out Listen to Another: Think of a person who has really helped you. Write them a "real" letter World Book Online. The link is on the 3-4 page. The telling them exactly what they have done to help you. Be very specific what they have done. Call username is riverviewsd and the password is or video chat with this person to tell them why they are important to you.
    [Show full text]
  • The History and Practices of a Native American Flute Circle
    REVIVAL AND COMMUNITY: THE HISTORY AND PRACTICES OF A NATIVE AMERICAN FLUTE CIRCLE A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Mary Jane Jones August, 2010 Thesis written by Mary Jane Jones B.M., Youngstown State University, 1978 M.S. in Ed., Youngstown State University, 1981 Ph.D., Kent State University, 1991 M.A., Kent State University, 2010 Approved by ________________________________, Advisor Terry E. Miller ________________________________, Director, School of Music Denise A. Seachrist ________________________________, Dean, College of the Arts John R. Crawford ii JONES, MARY JANE, M.A., AUGUST, 2010 MUSIC REVIVAL AND COMMUNITY: THE HISTORY AND PRACTICES OF A NATIVE AMERICAN FLUTE CIRCLE (64 PP.) Director of Thesis: Terry E. Miller Much knowledge about the Native American flute was lost following the suppression of Native American musical traditions by the United States government around the turn of the twentieth century. A renewal of interest in the instrument occurred in the latter part of the twentieth century, but few knew how to play the flute stylistically. As flute enthusiasts began meeting to learn and play together, flute circles emerged throughout North America and around the world. This thesis examines one such circle in Northeast Ohio and offers insight into the views and motivations of its members of Native descent. The practices of the flute circle and the relationships that formed among its members are investigated, as well as the reasons why these people have chosen to connect with their roots by means of playing the flute.
    [Show full text]
  • The Flute and Flute Music of the North American Indians
    The Flute and Flute Music of the North American Indians by Judy Epstein Buss This PDF is provided by www.Flutopedia.com as part of a collection of resources for the Native American flute. The original source material was scanned to produce this digital version. The full citation for this digital copy of the original source material is provided below. As part of the Flutopedia effort, extensive metadata (title, author, citation, etc.) has been encoded into this file. Select File/Properties in any Adobe product to view this information. You also can use text search on this document, based either on the OCR encoding done during the original digitization or during Flutopedia document preparation using the OCR facility of Adobe Acrobat 9 Pro. This work has been licensed by the author under the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license. Please see http://CreativeCommons.org/licenses/by-nc-sa/4.0/ for details. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/ for information on how to contact us. Citation [Buss 1977] Judy Epstein Buss. The Flute and Flute Music of the North American Indians, M.Mus. Thesis - University of Illinois at Urbana-Champaign, May 1977, vi + 134 pages. Contributing source: University of Illinois Urbana-Champaign Library Digitizing sponsor: Flutopedia.com Digitized by: Clint Goss on October 5, 2014 Processed by Clint Goss [[email protected]] on Tuesday, October 7, 2014 at 5:34PM EDT on host Castor THE FLUTE AND FLUTE
    [Show full text]
  • Ocarinas with an Inner Liner and an Outer Shell
    United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US006872876B2 (12) United States Patent (10) Patent No.: US 6,872,876 B2 Ahrens (45) Date of Patent: Mar.
    [Show full text]
  • PENTATONIC OCARINA Primary Examiner-L
    United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] United States Patent [19] [11] Patent Number: 4,893,541 Fowler et ale [45] Date of Patent: Jan.
    [Show full text]
  • Breath Flute Developer's Guide
    Breath Flute Project Guide Page 1 of 63 Printed August 10, 2018 at 2:31 PM Breath Flute Developer’s Guide This document provides information and guidance for those who wish to fabricate Breath Flutes, as well as developers who wish to modify the design of the Breath Flute for their own purposes. The Instrument The Breath Flute is a wind instrument that lets players with little or no musical experience create deep, resonant music using only their breath. The design inherits from musical instruments of many cultures, including the Australian didgeridoo, overtone flutes from Slovakia, and the Native American flute. It is ideal for community music gatherings since it can be played solo, in small groups, or as a large ensemble providing harmonic and rhythmic support for other musical instruments. It also has a role in music therapy, therapeutic music-making, and a wide range of personal breath practices such as yoga and meditation. Breath Flutes are accessible to players with physical limitations, since they have no finger holes and require no finger dexterity. Most players with no musical experience can create music in the first few minutes and experience the physiological benefits associated with resonant breathing the first time they play the instrument. Most Breath Flutes have a short headjoint section combined with a long body tube. The headjoint is about 5 in / 13 cm long and can be 3D-printed using free, open-source software. The body tube can be as simple as a length of standard pipe, or as complex as you wish to make it (decoration, curved designs, holes for tuning, etc.) The headjoint press-fits onto the body tube.
    [Show full text]
  • THE EFFECTS of SACRED/SHAMANIC FLUTE MUSIC on TRAUMA and STATES of CONSCIOUSNESS Lenore L
    Experimental THE EFFECTS OF SACRED/SHAMANIC FLUTE MUSIC ON TRAUMA AND STATES OF CONSCIOUSNESS Lenore L. Wiand, Ph.D. “Music is the beginning and end of the universe. All actions and movements made in the visible and invisible world are musical.” ––Hazrat Inayat Khan Sufi mystic “The flute is as old as the world.” ––Old American Indian saying ABSTRACT This research investigated the effects of listening to a particular music played on a Native American flute upon self reports of anxiety and perceptions of interconnectedness with individ - uals diagnosed with a trauma related disorder. It was a combined statistical and qualitative study. The results supported the theoretical model which included ancient indigenous and mystical cosmological concepts of interconnectedness and sound as healing (i.e. returning to wholeness). The research identified a recording of flute music (“Ancient Spirits”) as facilitating perceptual experiences of integration related to trauma, as well as expanded consciousness. Also illustrated were previosly undocumented dissociative processes. The results support a dissociative continuum which includes not only trauma related dissociation, but also wholeness related to concepts of spirituality and expanded consciousness. The study introduced a new testing measurement, the Interconnectedness Scale, with application in fields of psychology, spirituality and consciousness. The research points to the inclusion of sacred or shamanic world music's trans-cultural use, therapeutically and for consciousness exploration. KEYWORDS: Trauma, Dissociation, Dissociative Disorders, Sacred Music, Shamanic Music, Native American Flute, Healing, Oneness, Interconnectedness, Music Therapy Subtle Energies & Energy Medicine • Volume 17 • Number 3 • Page 249 THEORETICAL MODEL he theoretical model proposed that music, played on an aboriginal flute, with an inherent connection to ancestral cosmological concepts of Oneness and interconnectedness as well as sacred sound's use for healing (i.e.
    [Show full text]
  • Medium of Performance Thesaurus for Music
    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
    [Show full text]
  • Hybridity in Flute Music of Four Contemporary Composers
    HYBRIDITY IN FLUTE MUSIC OF FOUR CONTEMPORARY COMPOSERS Yeji Kim A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS December 2012 Committee: Marilyn Shrude, Advisor Robert W. Midden Graduate Faculty Representative Mary Natvig John Sampen © 2012 Yeji Kim All Rights Reserved iii ABSTRACT Marilyn Shrude, Advisor Hybridity is a concept that is widely discussed in the field of cultural studies. The term can be applied to anything that exhibits a fusion or mixture of elements and fades the demarcation between the elements. In music it is evident in the fusion of such disparate elements as old and new styles; electronic and acoustic media; Western and non-Western music; audio and visual components; classical and popular music; and the use of quotation. These elements are often combined in works that contribute to a hybrid musical vocabulary with a distinctive style, so that the points of departure are often blurred. Many recently composed works for flute demonstrate hybridity. The purpose of this document is to explore the concept of hybridity as evidenced in the flute works of four contemporary American composers and flutists: Cynthia Folio (b. 1954), Anne La Berge (b. 1955), Janice Misurell-Mitchell (b. 1946), and Maggi Payne (b. 1945). The study examines what brought about their hybrid approach to composition, as well as the relationship between their roles as both creator and presenter of works that demonstrate hybridity. Extensive email interviews, consultation of available sources, and analyses of compositions are the essential research tools.
    [Show full text]
  • Native American Flute Fingerings
    Native American Flute Fingerings This PDF file fingerings charts that work on many Native American Flutes. Versions are included for six-hole flutes with pentatonic minor tuning, five-hole flutes with pentatonic minor tuning, and six-hole diatonic flutes. Each fingering chart is provided with finger diagrams in two orientations: mouth-end up and mouth end down (“inverted”). The primary fingerings for each chromatic note are shown in black, with alternate fingerings shown in blue. This PDF is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. The Flutopedia web site includes, among many other things, an extensive set of finger diagram fonts for engraving sheet music that are similar to the finger diagrams in this document. All fonts have been embedded in this PDF file, so that it should display identically on various systems. You are free to distribute unmodified versions of this document. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. This document was last updated October 10, 2011 by Clint Goss [[email protected]] Native American Flute Fingerings Six-hole flutes - Pentatonic Minor Tuning Nakai Tablature for Native American Flute Developed by Clint Goss Minor Major Minor Major Flat Five / # RootSecond Second Third Third Fourth Augmented Fourth ## # nQ & q nq q q #q Q “La” “Do” “Re” 1 2 ! 3#4$@Ø Minor Major Minor Major # ## Fifth Sixthn Sixth SeventhQ SeventhnQ OctaveQ & # Q Q Q “Mi” “Sol” “La” 5 6Â%Ô ^´% 7¼ &)Ë-¶À~ 8`¾ Minor Ninth Major Ninth Minor Tenth Major Tenth EleventhQ # # nQ Q Q “Do”# Q “Re” & # # *Ü{( }9 0% 9 ) Notes: Color Key: Black for primary fingering - The names above each note is the interval from Blue for alternate fingerings the Root note.
    [Show full text]