Native Flutes

Welcome to musical adventures with your Native Flute! In

my experience it is a very magical instrument that appears in
one’s life at just the right moment. I hope it will bring as much
pleasure into your life as it has mine.
We all need creative expression in our lives – a way to
connect to people, nature, and spirit. Music fulfills these
needs. It’s a wonderful way to communicate feelings
that often don’t have another outlet. Traditional western
instruments (guitar, piano, etc.) have a lot of technique to get
past before one can feel free to simply create music. But the
Native Flute is different. It is low-tech and simple to learn.
That’s what makes it unique. Without any musical experience
anyone can create soulful expressive melodies.
As you play your flute, keep in mind that the breath is your life
force, a physical expression of your experiences and feelings.
When you play you directly project yourself through this
wonderful piece of wood, bringing it to life and bringing your
life to the world. That is what the ancient ones had in mind when
they created this instrument.
Play lots, let yourself go, be creative, and most importantly, have
fun. If you wish to share your Native Flute experiences, please
contact us - we would love to hear from you.

Safe Journey,
Odell Borg and the High Spirits team
 Fetish Placement
Before you start playing, it is important that the fetish is positioned
correctly so the flute achieves its optimal sound.
Although the flute fetish is firmly tied down, it is not permanently
glued so that it can be removed for cleaning and adjusted for the best
voice. The photos below show the correct fetish position.

Optimal position if your flute Optimal position if your flute

does not have a chamfer cut. has a chamfer cut.

What is a Chamfer Cut?

The chamfer is a 45º beveled cut along the edge of the sound hole.

Traditional Flutes
Every flute has its own personality and w e employ different
techniques to achieve each flute’s best voice. One such technique is
cutting a chamfer on the sound hole as seen above. Some traditional
flutes will have this chamfer cut and some will not.

Signature Flutes
The chamfer cut is an integral part of the mechanics o f signature
flutes. Therefore, all signature flutes will have a chamfer cut on the
sound hole.

High Spirits Flutes

PO Box 522 Patagonia, AZ USA 85624
(800) 394-1523 [Link]
© 2014 All Rights Reserved V.3
 CONTENTS

Important Information - Please Read........................... i
Introduction.................................................................. 1
Kokopelli...................................................................... 2
How to Play................................................................. 2
Important Tips ............................................................ 4
Creating Songs............................................................. 5
5-Hole and 6-Hole Flutes.............................................. 6
Techniques.................................................................... 6
Moisture Buildup......................................................... 9
Larger and Longer Flutes ............................................ 10
Double and Triple Flutes.............................................. 10
Care of the Flute .......................................................... 11
What if? -------- Solutions............................................. 12
Songs............................................................................ 13
Fingering Charts........................................................... 13
5-Hole Flute Fingering for Pentatonic Minor Scales ... 14
6-Hole Flute Fingering for Pentatonic Minor Scales ... 15
“A”, “Bb”, “B”, “C”, “D”, “E”, “F#”, and “G”
Chromatic Scales for 5 and 6-Hole Flutes .............. 16-23
Playing Scales .............................................................. 24
Additional Scales ......................................................... 25
IMPORTANT - PLEASE READ
Leather Tie in the Center of the Flute
If your flute looks like a 5-hole flute and has a piece of leather wrapped
around the center of it, it’s actually a 6-hole flute with the leather
covering one of the holes. The differences between 5 and 6-hole flutes
are covered further in the “5-Hole and 6-Hole Flutes” section of this
booklet (see page 6). For now you can leave the tie on and continue to
play it as a 5-hole flute or, if comfortable, simply remove the leather
to play a 6-hole flute. This makes a flute very versatile and eliminates
any confusion over which flute is best for you.

Guarantee
We stand behind our instruments completely. If the sound is affected
by any structural defect because of checking or natural cracks, we
will replace the flute within the first 30 days and repair the instrument
thereafter. In case of accidental damage beyond these conditions, we
will make every effort to repair it at a reasonable rate (plus shipping).

We rarely see issues but we want you to understand the nature of wood.
As we blow into a flute moisture from our breath will cause the wood to
expand and contract and natural check lines can occur. These lines look
like splits or cracks but rarely go all the way through the flute. To help
prevent check lines from forming we seal and treat every instrument
with hardening oils.

In the rare event that a check line does occur on your flute we
recommend that you get in touch with us so we can help you.
It is important to note that no matter what changes a wooden flute may
go through, if it retains its voice, it is an indicator that the structural
integrity is solid.

i
Introduction
Flutes are one of the most ancient instruments and are found throughout
the world. For generations upon generations they have been closely tied
to our traditions, rituals and celebrations. That is why so many of us
are hypnotically drawn to the haunting melodies they produce - their
essence runs deep in our veins.

The origin of the Native American flute lies within the cultures of the
ancient people, those that came before the tribes and nations we are
familiar with today. Their legacy produced a variety of flutes, each of
which is associated with different nations and tribes. We believe that
the flute you have chosen is one of the most fascinating and technically
marvelous instruments to emerge from this history. Its ingenious design
produces a sound that far surpasses its simplicity.

The Native Americans, like most tribal cultures, did not have a written
music language. They did not find it necessary. Their songs and
playing techniques were passed down from generation to generation
in disciplined rituals and practice. Individual styles were developed
by experimentation and imitation of sounds heard in nature. Since they
did not have sheet music and notes to follow, the music they created
came spontaneously “from the heart”. This improvisational style is
ideal for unstructured self-expression, yet the Native Flute also easily
adapts to the structure of modern written music.

Each of us is linked to a past in which nature was the dominant force

of life and music expressed our individual and collective experiences.
Creating music deepened our connection with community and the
natural world around us. For many of us that connection is now weak
and at some level we all feel its loss. Today, few things inspire those
feelings of connection as strongly as music does.

Much of what you will learn about this instrument comes from within
you. Music flows through all of us. Listen thoughtfully, be patient
with yourself, and, most importantly, have fun!

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Kokopelli
Kokopelli, the flute playing wanderer, was a gentle, minor god to the
pre-Columbian Indians of the western United States. The Kokopelli
figure has been found in the ruins of the Pit House People dating back
as early as 200 A.D. and as late as the 16th century where it appears
in association with drawings of men on horseback, armored men, and
men in cowls. Kokopelli has many modalities: he is a personality, an
individual, the personification of a legend, a beneficent god to some and
a confounded nuisance to others.
Kokopelli was responsible for fulfilling many needs for his people,
including rain, abundant food, music, merriment and dance. Kokopelli’s
likeness varies almost as much as the legends about him, but on the
whole, he is unmistakable - dancing and always playing some type of
flute.

How to Play
The most challenging aspect of playing this flute is to close all of the
holes completely. If you can do that you can learn to play this instrument.
Use your little fingers and thumbs to stabilize the flute and the pads of
your other fingers (not the tips) to completely cover the holes (the larger
surface area of the pads makes this easier). With all the holes closed,
blow lightly into the flute. If the sound is weak blow a little harder.
The sound you are listening for is a solid, deep, even tone that is pleasant
to the ear. If you get anything else, it’s because one of the holes is still
slightly open or you are blowing too hard or possibly too softly. Just
the slightest opening left by one of your fingers will result in a buzzy
or off-sounding note.
If the bottom note sounds too high in pitch it’s likely that one of
the upper two finger holes is slightly open. Adjust your fingers,
making sure you are using the pads of your fingers, and try again
until you achieve a deep bottom note with all the holes closed.
A helpful tip here is to adjust your fingers instead of adding more finger
pressure - too much pressure will only cramp your fingers. Hold off on
playing the other fingerings until you achieve that bottom note because
once you can play that note the others are a breeze.

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Once you’re comfortable playing the low note the next skill is to play up
and down the scale. For those who have never played a wind instrument,
we recommend that you do this in front of a mirror. Lift one finger at
a time from the bottom up until all the holes are open and then close
one finger at a time from the top down.

Please, do this slowly! Pause at each note to listen to its sound. If it

sounds solid, go on to the next note. If not, lift your finger and replace
it correctly (pad of the finger covering the hole completely). This will
instill good muscle memory. After successfully playing the scale a
couple of times, try doing it with your eyes closed. This forces you to
develop your tactile skills. Another advantage to playing with your eyes
closed is that the notes will envelop you, creating a deeper understanding
of how they interact.

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Important Tips
Close the Holes Completely
Any hole that is closed must be completely covered or you will get a
squeaky sound. You will know it when you hear it.
Play Slowly
Take your time with each note. It will help you develop good habits.
Your fingering speed will come by itself.
Close Your Eyes
This develops your tactile skills and your muscle memory, helping
coordination develop more quickly.
Breathe
Breathe at normal intervals; do not wait until you gasp for air. Your
breath capacity will develop naturally.
Experiment
To learn the tonal range of each note, first, blow softly and then increase
your breath until the note breaks.
Tone
Each note has a sweet spot. If a note is shrill or breathy, decrease
the air flow. If it is wispy or weak increase the air flow to liven it up.
Finding the sweet spot on the bottom note (all holes covered) can be
challenging. It’s more delicate than the other notes and if you blow
too hard it will go to the next octave, producing a high-pitched sound.
Play the Scale
Play the scale from the bottom up and then go back down. Slightly
increase the air flow as you play up the scale and decrease it on your
way back down.

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Creating Songs
The Native Americans, like many tribal cultures, never had a written
music language; they did not find it necessary. In turn they developed
instruments that were naturally expressive and easy to play. The flute
was one of the more complex instruments they developed. It is set up
in such a way that the notes are in harmony with each other. In western
music it is called the pentatonic scale. Penta, meaning five, represents
the five notes on the flute. For those of you that have a 6-hole flute, be
sure to read the section on “5-hole and 6-hole flutes”. Because all notes
complement each other this flute is very easy to play and you cannot go
too far wrong as you start to play and experiment.

By now you have been playing the scale up and down and are
more than likely comfortable with it. That’s great! This means
you’ve established the correct finger technique and muscle memory.
Now it’s time to add some variation. Continue to play up and down the
scale, but this time hold some notes longer and some shorter. Try repeating
some notes, going back and forth between two or three. When you pause to
take a breath, change your fingering so you restart on a different note than
you finished on. Listen to the way the notes interact and to the rhythms
you create; when you hear a combination you like repeat it a few times.

These improvisational techniques will develop your understanding of

how different notes interact to create melodies and the more feeling you
put into it, the richer your melodies will be. Remember, the important
thing is that it sounds good to you; this is for your own pleasure and
entertainment. No pressure - just fun!

When you first begin creating music on your flute try to let go of any
structured ideas you may have. It’s not necessary to know any music theory
or to read music to create songs on this flute. If you feel you need more
structure try using the verse-chorus form. In this form, you play something,
repeat it once or twice, play something different, and then go back and
play the first part again. No matter what method you use, keep it simple.
Beautiful songs don’t need to be complex and before you know it your
style will develop and diverse melodies will flow naturally.

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Remember, there is no right or wrong way to create music. If it’s pleasing
to you that’s all that matters. Be creative, have fun, and play and practice
when you feel like it. Playing your flute is not a chore that must be done;
it’s a joy to be celebrated!

5-Hole and 6-Hole Flutes

It is important to note that none of the information in this section is
necessary to play the flute. It only becomes necessary if you want to
play other scales or plan to play written music.
All Native American flutes are based on the five note pentatonic scale
(“penta” meaning five). These five notes are harmonic to each other.
That is why 5-hole flutes are so easy to play and require no musical
background. However, other scales can also be played on the Native
Flute. For example, both the diatonic and chromatic scales can be played
on the Native Flute.
We mentioned earlier that the Native Flute has five basic notes which
create the pentatonic scale. When the sixth hole is introduced it also
allows other scales to be more easily played by making the fingerings
for these other scales less complex. However, playing the sixth hole
can create a dissonant sound if it’s not used properly. This is why
we recommend that beginning players start with the basic five note
pentatonic scale. After playing for a while your ear will become more
developed and through experimentation this extra note can be included
more easily.

Techniques
When you are trying new techniques on the flute, stick to using the
top two or three notes. The two bottom notes tend to be more delicate,
making initial experimentation challenging. Once you feel comfortable
with the way they play/sound on the top notes, apply your new
techniques on the bottom notes too.
Embouchure
The mouth position used to play an instrument is called an embouchure.
When first playing a Native Flute, the natural tendency is to place the

6
whole mouth end of the flute into one’s mouth and blow. This technique
has a few downfalls: it creates excess moisture in the flute, hinders
breath and tonguing techniques, and reduces the ability to control the
airflow.

Instead, close your lips then place the flute against them, much like
you are kissing it. Another technique is to allow your upper lip to
close about half of the air hole and place the lower lip just slightly
underneath the air hole.
In this way the air
passage from the mouth is
reduced and backpressure
is created. This technique
provides a better sound,
less moisture buildup,
and more control of the
flute.

Breath
In the beginning playing the flute is all about fingering. Those techniques
will solidify fairly quickly. Once you feel comfortable with your
fingering, the flute becomes all about your breath. Think of it like
singing with your breath. When we sing we try to be melodic by using
inflections in our voice, otherwise we sound monotone. The same holds
true when playing the flute. If you just blow a continuous stream of
air, it’s somewhat monotonous, but if you vary your breath pressure to
create inflections it brings color and feeling to the notes.

Without the flute in your mouth, try creating a short melody with your
breath by varying breath pressure (like whistling without sound). Now,
using just a couple of notes, do the same thing into the flute. Applying
this technique while playing the scale or any simple melody will bring
your playing to life.

Any way that you devise to change the airflow from your mouth
will change the sound on the flute. Try moving your tongue rapidly

7
in front of the mouthpiece, or try trilling or snapping your tongue.
Altering the airflow in any way will produce unique effects.
We all have different abilities and styles, so be creative.

Tonguing
Tonguing is a technique used to create rhythm by stopping and
starting the air flow to the flute. To perform this technique, the
tongue quickly touches the roof of the mouth just behind the
front teeth, like making the sound “ta”. Without the flute say
“ta”. Notice where your tongue touches the roof of your mouth.
Now say, “ta, ta, ta, ta”, now “ta,_,ta,_,ta,_,ta,ta,ta,ta,_,ta,_,ta.”
Repeating the second or third line over and over creates a rhythm. On
your flute, try this on a single note first, and then try changing notes at
the point when the breath stops (at each “ta”). Tonguing can be very fast
and deliberate or slow and subtle as well as all ranges in between. Using
different tonguing styles will bring feeling and life to your melodies.

Fingering
Fingering affects the sound of the flute as well. Slipping your finger
slowly off a hole will change the note with a sliding effect. Rolling a
finger partly off a hole and then re-covering it will produce a moody or
blues quality. Covering a hole only half way produces a different note.
Experiment and develop your own unique style and techniques.

Jumping Notes
Up to this point the melodies you have been playing are composed by
moving from one note to the note just above or below it. Now it’s time
to jump notes. Jumping notes allows you to jump from one note to any
other note within a scale.
To do this you’ll need to follow one simple rule: when you open or close
any hole on your flute, all the holes below that hole have to be open and
all the holes above it need to be closed. The only exception to this rule
is that the third finger hole down from the mouthpiece must stay closed
at all times (this applies to 6-hole flutes only).
When following this rule, any note you play will be harmonious with
the next one. A good way to see this rule visually is with the following

8
fingering chart. This chart shows the fingering pattern of each note in
the basic 5 note pentatonic scale. Notice that each note follows this rule,
everything above is closed, everything below is open (third hole from
the mouthpiece is always closed).

- Closed - Open

Mouthpiece
Experimenting with different fingering and breath techniques is fun
and rewarding. If you feel you are getting bored with your playing
or feel like you have reached a plateau, take it as a positive sign
that you have mastered your present techniques. At this point it’s
time to get experimental. Put what you know aside, make strange
sounds, move your fingers turtle slow or rabbit fast, mimic bird
songs or the wind in the trees. These types of experimentation
will enhance your style and push you beyond your plateau.
We have had the pleasure of playing flute with many people and are
always amazed that no two sound the same; everyone has his or her
own individual style.

Moisture Buildup in the Flute

When blowing into the flute, condensation from the breath will
build up in the air chamber and, over time, will clog the air passage
so that the air will not be able to flow easily. Until the tongue and
mouth become used to the mouthpiece moisture buildup can be
frequent. The buildup normally occurs after playing for a while.
One solution is to place a finger partially over the sound hole
(see fig.1, page 11) and blow hard into the flute. The moisture will
come out from the front of the fetish as a drop or spray of water.
Then hold the flute by the bottom end (opposite of mouthpiece)

9
and shake the moisture out of the breath chamber. Another option
is to take the fetish off, let it dry out, and then tie it back on (see
page 12). Creating an embouchure when playing the flute will also
help in reducing the moisture buildup (see Embouchure section-
page 6). Additional information about embouchures can be found at
[Link].

Larger and Longer Flutes

Most of us start off with a shorter flute because they are easier to play,
are a smaller investment, and we want to see if we connect with the
instrument. But everyone loves the sound of the deeper tones. If you
decide to purchase or have purchased a deeper toned Native Flute,
then you will be playing a larger instrument. On larger flutes the breath
control and style of play is more subtle and sensitive, so going from
a smaller to larger flute can take some adjustment. However, this is
easily compensated for by the mellow, warm, expressive feel that the
deeper tones create. For more information on playing larger flutes
go to [Link].

Double and Triple Flutes

There are two types of double flutes being made - double barrel shotgun
style and split “V” style. We make the “V” style double flute with two
separate breath holes; one for the melody flute and one for the drone
flute. This allows the flute to instantly be played as a single or double
flute, adding versatility and richness to your melodies. Double flutes
do take a different style of play and we suggest experimenting to create
your own unique sound. Here are a few tips:

• Depending on what part of the flute you wish to emphasize

(melody side or drone side), move the flute slightly in that
direction so that side receives more air.
• When playing both sides try tonguing the higher notes (see
section on Techniques) and adding a bit more breath pressure.
This will drive the drone to the high octave.

It does take a bit more air to play these flutes. Using an embouchure
will help in regulating the airflow (see Embouchure section - page 6).

10
 Functional Parts of the Flute

fig.1

The triple flute is unique in that it has two drones and a melody flute.
One drone plays “A” minor while the other drone has three holes that
can be opened or closed to create different drone notes. The center
flute has six holes on which the melody is played. Triple flutes are
wonderful performance instruments, but we only recommend them
for experienced players.

Care of the Flute

After we make the flutes we treat them with several coats of nontoxic oil
that hardens the wood. This does not have to be done again unless the
instrument is heavily used. If the flute starts to lose its luster we recommend
that a nontoxic oil be used to bring back the finish. There are commercial
products available such as wooden salad bowl oils or any other refined,
food grade oil that you like the taste of. At the time of oiling apply a coat
of oil inside the bore. After letting the oil sit for ten minutes or so, wipe
off the outside of the flute but let the oil inside the bore soak in (do not
wipe it off).

To get the best possible sound from the flute it is important that the fetish
(piece tied on top of the flute) be tied down tight. Leather has a tendency
to stretch so the fetish has to be re-tied periodically. We secure the fetish
with a rubber band first and then wrap the leather around it. After tying
the fetish down tight, you will still be able to adjust it.

The ideal position for the fetish is just in back of and centered on the
sound hole (see fig. 1, page 11 and image 4 page 12). The sound hole

11
should not be covered by any part of the fetish. The fetish can be moved
back and forth to get a slight difference in pitch but we have found that the
sweet spot is in the position described above.
How to Remove and Replace the Fetish:

1 2

1. Undo the square knot. 2. Unwrap leather.

3 4

3. Remove rubber band and fetish. 4. Correct fetish position.

What if? ....... solutions!

Cannot get any sound:
a) Make sure the fetish is in the proper position and tied down tightly
(see fig.1, page 11) .
b) Check that the fetish is not covering any part of the sound
hole and that the fetish is centered behind the sound hole
(see fig.1, page 11).

The sound is weak or buzzy:

a) If it has been played a lot, check for moisture buildup.
b) Check to see if the fetish is in the proper place and is tied down tightly
(see fig.1, page 11) .

The low (bottom) note breaks to a high note or is squeaky:

a) Make sure that all the fingering holes are completely closed. Play
flat-fingered using more of the fleshy pads of your fingers.
b) Use less air pressure when you play the note. If you blow too hard
on that bottom note it will break to the next octave.

12
The flute sounds off-key or makes unpleasant sounds:
a) Make sure all of the fingering holes are completely closed.
Play flat-fingered using more of the fleshy part of your fingers.
b) Increase or decrease the breath to make the note sharper or flatter,
respectively.
For additional information be sure to visit our FAQ page at
[Link].

Songs
The tribal cultures that created these types of instruments did not have
written music. The basics were handed down and the rest came from the
heart. We honor that. This beautiful instrument is an improvisational
gift through which we have the ability to express our heart’s song. We
encourage you to experiment by creating your own songs and expressions.
You will find the process very liberating, easy, and rewarding.

That said, songbooks can be a fun and motivating way to learn

and play the Native Flute. If you are interested in learning
songs we have a variety of songbooks available on our website
[Link].

Fingering Charts
The following pages contain fingering charts for 5 and 6-hole flutes in
the minor keys of “A”, “Bb”, “B”, “C”, “D”, “E”, “F#” and “G”. On
the charts, the black dots indicate closed holes and the tapered end of the
drawing indicates the mouthpiece. Under each fingering diagram is the
corresponding note.

Please remember that with all wind instruments the amount of air pressure
exerted will determine the accuracy of the note. More pressure will sharpen
the note, while less pressure will flatten it.

We provide fingering charts because many people are interested in the

information they provide but you don’t need them to enjoy playing music
on the Native Flute. In many cultures people never learn music theory.
They create beautiful melodies simply “playing by ear”.

13
 5-Hole Flute Fingering for
Pentatonic Minor Scales

Key of “A” A C D E G A

Key of “Bb”(“A#”) Bb C# D# F G# Bb

Key of “B” B D E F# A B

Key of “C” C D# F G A# C

Key of “D” D F G A C D

Key of “E” E G A B D E

Key of “F#” F# A B C# E F#

Key of “G” G A# C D F G

14
 6-Hole Flute Fingering for
Pentatonic Minor Scales

Key of “A” A C D E G A

Key of “Bb”(“A#”) Bb C# D# F G# Bb

Key of “B” B D E F# A B

Key of “C” C D# F G A# C

Key of “D” D F G A C D

Key of “E” E G A B D E

Key of “F#” F# A B C# E F#

Key of “G” G A# C D F G

15
 “A”chromatic scale for 5-hole flute

A B C C# D D# E F F# G G# A A# B C

16
“A” chromatic scale for 6-hole flute

[Link]/alternate-octave-scales
Scales for different octaves may vary and can be found online at
A B C C# D D# E F F# G G# A A# B C
 “Bb” (“A#”) chromatic scale for 5-hole flute

B b(A#)C C # D D# E F F# G G # A B b(A#)B C C#

17
“Bb” (“A#”) chromatic scale for 6-hole flute

[Link]/alternate-octave-scales
Scales for different octaves may vary and can be found online at
B b(A#)C C # D D# E F F# G G # A B b(A#)B C C#
 “B” chromatic scale for 5-hole flute

B C# D D# E F F# G G# A A# B C C# D

18
“B” chromatic scale for 6-hole flute

[Link]/alternate-octave-scales
Scales for different octaves may vary and can be found online at
B C# D D# E F F# G G# A A# B C C# D
 “C” chromatic scale for 5-hole flute

C D D# E F F# G G# A A# B C C# D D#

19
“C” chromatic scale for 6-hole flute

[Link]/alternate-octave-scales
Scales for different octaves may vary and can be found online at
C D D# E F F# G G# A A# B C C# D D#
 “D”chromatic scale for 5-hole flute

D E F F# G G# A A# B C C# D D# E F

20
“D” chromatic scale for 6-hole flute

[Link]/alternate-octave-scales
Scales for different octaves may vary and can be found online at
D E F F# G G# A A# B C C# D D# E F
 “E”chromatic scale for 5-hole flute

E F# G G# A A# B C C# D D# E F F# G

21
“E” chromatic scale for 6-hole flute

[Link]/alternate-octave-scales
Scales for different octaves may vary and can be found online at
E F# G G# A A# B C C# D D# E F F# G
 “F#” chromatic scale for 5-hole flute

F# G# A A# B C C# D D# E F F# G G# A

22
“F#” chromatic scale for 6-hole flute

[Link]/alternate-octave-scales
Scales for different octaves may vary and can be found online at
F# G# A A# B C C# D D# E F F# G G# A
 “G” chromatic scale for 5-hole flute

G A A# B C C# D D# E F F# G G# A A#

23
“G” chromatic scale for 6-hole flute

[Link]/alternate-octave-scales
Scales for different octaves may vary and can be found online at
G A A# B C C# D D# E F F# G G# A A#
Playing Scales
The term “Scales” describes a sequence of notes that musically relate to
each other. There are thousands of different scales found throughout the
world and each has its own personality and feel.

You have already experienced playing one scale. By simply playing

up and down the flute with the third fingering hole from the top closed
(when using a 6-hole flute) you have been playing a pentatonic minor
scale. But many other scales can be played on the Native Flute and most
are just as easy to learn. For instance, playing up and down the flute with
the fourth fingering hole from the top closed instead of the third (on a
6-hole flute) is another type of pentatonic scale. This scale adds a unique
bluesy quality to the flute.

When we play a song in a different scale, it changes the character and feel
of a melody. This gives insight into new ways to play and will expand our
style and song compositions so we can express ourselves more completely.

The fingering charts for the following scales are simple to learn and there
is little or no musical knowledge required to use them. Practice following
the fingering as they are described by the black dots, and the results will
make sense. There are no notes assigned to these fingering charts because
they can be played on any of our flutes no matter what the key.

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 Additional Scales

Pentatonic Minor Scale

(3rd hole closed)

Pentatonic Minor Scale

(4th hole closed)

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Pentatonic Major Scale

Diatonic Major Scale

Blues Scale Variation

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Write Your Own Song!

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Write Your Own Song!

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