Volume 2, 2012 - International Native American Flute Association

Voice of the Wind
Volume 2, 2012
A Music and Education-Based Organization Whose Goal is to Foster the Advancement, Appreciation,
Preservation, and Understanding of the Native American Flute, As Well As Other World Flute
Traditions
Want Your Web Site on the INAFA Links Page?
INAFA wants to promote its members! We welcome your help in
achieving our goal of member promotion. We have a variety of
categories on the INAFA links page: Native American flute
makers/dealers, flute cases and accessories, recording artists,
world flutes, music blogs, other important links, music and
healing, and INAFA members on MySpace and Facebook. Where
can we put your information? Let us know! We want to help!
Flute Maker Identification Project
INAFA is implementing a new project that will catalog flutes and
their details for reference purposes. We have had a good
response thus far, but more input is needed from both flute
makers and flute owners. Many people send INAFA questions
about a flute’s identity. Please help us create a thorough
informational database.
Event Listings
Please send us your event information. We are pleased to include
information about INAFA members’ gatherings and events.
However, INAFA does not list the individual performers for
flute gatherings and festivals. Instead, we encourage our readers
to visit the event’s Web site to see their complete list of
performers and vendors, as well as more specific event details.
Performers’ Events Listing
If you are an INAFA member and would like your
appearances/performances listed in the events section of Voice of
the Wind, please send them to INAFA via e-mail before the
submissions deadline and in the following format: event, date(s),
location, and contact information. While we make every effort to
list events that we find on INAFA members’ Web sites, we do not
guarantee event listing unless performers themselves send the
information directly to INAFA. Please help us be thorough!
New Flute Circles
INAFA always welcomes new flute circles and encourages
people to form new flute groups. In order to be listed with
INAFA, the forming flute circle needs to contact the organization
with specific information. The contact person for the group and
the representative to INAFA must be members of the
organization. These two positions may be held by the same
person or by different people. The choice is up to the new circle’s
membership. If the contact person or representative do not
remain members of the organization, the flute circle must notify
INAFA of their replacements. The circle will be removed from
the database if the new information is not provided.
Disclaimer
All rights to publication in this issue are reserved. No claims or
endorsements of products and services may be inferred or
regarded as the policy of the INAFA or the Voice of the Wind, its
editorial staff, its Advisory Board, its Founders Committee, or its
membership. Requests for omission of sensitive or inappropriate
subjects are in full compliance by the editorial staff and will be
edited in all solicited and unsolicited materials submitted for
publication in every issue. You are entirely responsible for the
accuracy of your submissions. Articles and all other information
printed in Voice of the Wind and on the INAFA Web site may not
be reproduced in any mediums, including the Internet, without
the written consent of the INAFA. All submissions to Voice of the
Wind are edited for length, content, grammar, and punctuation.
Special Note: INAFA reserves the right to refuse advertisements,
articles, listings, and announcements.
Send all inquiries, materials, and submissions to:
INAFA
Dr. Kathleen Joyce-Grendahl
3351 Mintonville Point Drive
Suffolk, VA 23435
Phone: 757-651-8328
FAX: 757-538-2937
E-mail: INAFA@AOL.COM
Copyright © INAFA 2012

INAFA Personnel
Executive Director, Editor, and Publisher:
Dr. Kathleen Joyce-Grendahl
Web Site Administrator/Designer:
Deb Klossner
Founders Committee:
R. Carlos Nakai
Ken Light
Dr. Kathleen Joyce-Grendahl
Advisory Board:
R. Carlos Nakai
Ken Light
Dr. Oliver W. Jones, Jr.
Sonny Nevaquaya
Xavier Quijas Yxayotl
Michael Graham Allen
Robert Jackson
Peter Phippen
Randall McGinnis
Kevin Locke
All positions within the organization are performed on a volunteer basis.
INAFA Membership Renewals
INAFA sends out membership renewal notices before your
membership is due to expire, so that you will not miss any issues
of Voice of the Wind.
Voice of the Wind Submission Deadline
All submissions for the next issue due by July 30, 2012
Publication Policy
Agreed upon by the INAFA Founders Committee forthwith
establishing the Voice of the Wind as a “members only”
publication. Consequently, advertising and other information
related to fully-paid members of INAFA will be included in any
articles etcetera, but due to threats of litigation by specious
individuals any information regarding nonmembers shall be
deleted in order to prevent any subsequent repercussions.
INAFA in all of its activities is now “members only” and shall be
heretofore responsive to its fully-paid members only.
Special Note:
INAFA reserves the right to refuse advertisements, articles, and
event listings.
Lifetime Memberships!
INAFA now offers lifetime memberships in the organization. The
fee is $1,200. It is payable in quarterly installments of $300, two
payments of $600, or one lump-sum payment of the entire fee.
Voice of the Wind Ad Rates
General Information:
The International Native American Flute Association is a
members-only organization. Advertising on the organization's
Web site and in its quarterly publication is available to INAFA
members in good standing.
Rates:
INAFA offers discounted advertisement rates when they are
placed in multiples. The rates are as follows:
Full-Page: One-$63; Two-$113; Three-$169; Four-$219
Half-Page: One-$32; Two-$57; Three-$85; Four-$107
Quarter-Page: One-$16; Two-$29; Three-$43; Four-$53
Ad Dimensions:
Full Page Ad: 7 inches across and 9 inches down
Half Page Ad: 7 inches across and 4.5 inches down
Quarter Page Ad: 7 inches across and 2.5 inches down
Advertisers must adhere to the measurement guidelines.
Miscellaneous:
Listing in the Flute Maker Directory: $10 per issue, or $35 for four
issues.
Submitting Ads to INAFA:
Please digitally submit your ad(s) to INAFA in both a JPEG and
PDF format, using the highest resolution possible.
Submission deadline for each issue of Voice of the Wind is as
follows:
January 30 for the February Issue
April 30 for the May Issue
July 30 for the August Issue
October 30 for the November Issue
INAFA Lifetime Members
Diane Willis
Jeff and JoAnn Calavan
Deborah Peterson
Angel Cruz
Philip Shenefelt
Dr. Oliver W. Jones, Jr.
Br. Isidore Harden
John Davis (The Chauga River Whittler)
Jeanne Lyle
Debra Mennenga
Teddy L. Jones
Scott Brown
Joseph Arsenault
Charles and Vicky Littleleaf
INAFA Member Kudos: Tim Blueflint
Tim Blueflint’s “Raven Creates the Stars” flute won the Best in
Traditional Crafts Category at the Indian Arts and Crafts
Association’s 2012 Spring Market in Albuquerque, New Mexico.

Preserving the Heritage …
Insights and Songs From Kevin Locke
All proceeds generated from this CD will benefit the INAFA and its mission and goals.
This is the second and newest CD in the International Native American Flute
Association’s Historic Flute Series. Recorded during the 2010 INAFA convention at
Skyline Studios in Eau Claire, Wisconsin, the CD features Lakota/Anishinabe flutist
Kevin Locke in conversation with Dr. Oliver W. Jones. In addition to music and songs,
Kevin shares historical, cultural, and philosophical ideas and information.
Kevin Locke is a skilled musician, performer, recording artist, cultural ambassador,
educator, and scholar in the field of the traditional Native American flute, its repertoire,
mythology, written and oral tradition, and performance practice. He works diligently to
bring his vast knowledge of Native American cultural values, traditions, music, dance,
and language to many people around the world through his performances, recordings,
and projects.
Cost: $15 with Free Shipping! Send check or money order payable to: INAFA, 3351 Mintonville Point Drive, Suffolk, VA 23435
Credit Card Through Paypal to: INAFA@AOL.COM
Woodnotes Wyld: Historic Flute Sounds
From the Dr. Richard W. Payne Collection
This is the first CD in the International Native American Flute Association’s Historic Flute
Series. Woodnotes Wyld is an ethnomusicological field recording of the flutes from Dr.
Richard W. Payne’s extensive collection. Performed and recorded in Dr. Payne's flute
room by Peter Phippen in 2002, the music on Woodnotes Wyld is solely improvisational,
meant to explore the voice and parameters of select instruments. The intent of this
historically and musically significant endeavor is to maintain the integrity of Phippen’s
field recording, opting for a true, honest realization of the flute voices rather than trying to
bend them to the Western, commercial ear.
The music on Woodnotes Wyld, as well as all publishing rights, was donated to the organization by Peter Phippen. All proceeds
generated from this CD will benefit the INAFA and its mission and goals. This CD was nominated for a 2010 Indian Summer Music
Award, a 2010 Native American Music Award, and a GRAMMY Award nomination in the Best Native American Music Album
category.
Cost: $15 with Free Shipping! Send check or money order payable to: INAFA, 3351 Mintonville Point Drive, Suffolk, VA 23435
Credit Card Through Paypal to: INAFA@AOL.COM
Clear Water Reflections
Native American & World Flute Music
The INAFA fundraising CD, Clear Water Reflections, was nominated for a 2009 Native
American Music Award (NAMMY) in the Best Compilation category, nominated for Best
Native American Music Album in the ZMR Music Awards, and nominated in the 2009
North American Indigenous Image Award in the Best Flutist category.
INAFA wishes to express its sincerest appreciation to the 2008 convention performing
artists, engineer Ivar Lunde, Jr. of Skyline Studios in Eau Claire, Wisconsin, and producer
Peter Phippen for donating their time, effort, and wonderful music to this project. Their
generosity is simply amazing. All proceeds generated from this CD will benefit the
INAFA and its mission and goals.
Cost: $20 with Free Shipping! Send check or money order payable to: INAFA, 3351 Mintonville Point Drive, Suffolk, VA 23435
Credit Card Through Paypal to: INAFA@AOL.COM

INAFA Convention 2012
July 18-22, 2012
University of Wisconsin-Eau Claire, Haas Fine Arts Center
Sponsor: University of Wisconsin-Eau Claire Music Department
Hosting Flute Circle: Clear Water Flute Circle
This is an indoor event, with all activities taking place in a central location within the Haas Fine Arts Center on the campus of the
University of Wisconsin-Eau Claire. The Full Convention Attendance Form, the Per-Day Convention Attendance Form, and the Vendor
Form are up on the INAFA Web site. Included with this mailing are the Artist Sponsorship Form and the Full Convention Attendance
Form. Deadline for on-campus housing reservations and meals is June 16, 2012.
The INAFA convention has classes and workshops from 9:00 a.m. through 2:00 p.m., Thursday through Saturday. The afternoon concert
series that features three performers each day commences at 3:00 p.m. and lasts until 4:30 p.m. These afternoon concerts are also from
Thursday through Saturday. Each evening, from Wednesday through Saturday, the main concerts will feature three premier artists
and/or groups, encompassing both Native American and world flute traditions. Sunday will begin with a class, followed by the
participant’s recital for which anyone may sign up to perform. The convention will end with closing words and the convention raffle! You
do not need to be present to win an item in the raffle. Even those who do not attend the convention may enter the raffle in advance of the
event.
Centrally located near the recital halls and classrooms will be numerous vendors carrying a plethora of musical items, such as world
instruments, Native American flutes, CDs, carrying cases, music and music instruction books, and much more. Since this is an indoor
event, the vendors do not need to fret about nature’s elements harming their products. There will be a location to which the vendors and
performing artists may send product in advance of the convention.
The on-campus housing option is very affordable, as well as on-campus meal plans. If you opt to stay in a hotel, you may still purchase
the on-campus meal plan. Eau Claire, Wisconsin, is affordable, beautiful, and the climate is delightful. There is a river that runs through
campus, right behind the Haas Fine Arts Center, and the students and locals drift down the river in floating chairs and inner tubes. There
is also canoeing. Come early and give it a go; it looks like great fun!
There are four airports that feed into the area. The Chippewa Valley Regional Airport (EAU) is the closest to the venue. Another major
airport in the locale is Minneapolis-St. Paul International Airport (MSP), approximately 1 hour and 45 minutes from Eau Claire. Other
airports include: Madison (MSN) and Mosine (CWA).
2012 Convention Performers/Clinicians Convention Vendors Thus Far
R. Carlos Nakai Feather Ridge Flutes and Drums*
G.S. Sachdev (bansuri master) with Shyam Kane (tabla) Molly Moon Arts and Publishing*
Mithril (Celtic Ensemble) Flute Outside the Box*
Kevin Locke and Doug Good Feather Visionhawk Music*
Bryan Akipa Butch Hall Flutes*
Eliyahu Sills Ensemble (Middle Eastern) Buffalo Moon Flutes*
Peter Phippen and the Summerland Ensemble Tree of Life Designs*
Michael Gould (shakuhachi master) Xavier Quijas Yxayotl*
Michael Graham Allen and Randy Granger Amon Olorin Flutes
Xavier Quijas Yxayotl Thunder Bear Flutes*
Mark Holland Shades of Rez*
Anthony Wakeman and Aaron White Michael Graham Allen/Coyote Oldman
Frank Anakwad Montano Woodland Voices Flutes*
Dr. Tim Lane Jon Norris Music & Arts*
Cornell Kinderknecht Northern Spirit Flutes*
Bobb Fantauzzo and JazZen Lone Granger Music
Randy Granger Woodsounds Flutes
Jan Seiden Mark McGourley Music and Jewelry*
Wade Fernandez
Jonathan C. Ward
Joseph Young
Dr. Ivan Iriarte *Indicates that vendor is making a raffle donation
John Sarantos
Enrique Rueda
Richard Dubé
Fred Yellowknife Keams
Mark McGourley
Robert Willasch
Mistress of Ceremonies: Stephanie E. Elkins, Host and Producer of Simply Folk, Wisconsin Public Radio
Master of Ceremonies: Tim Blueflint, Bad River Chippewa/Comanche, Shades of Rez Flutes

Tentative Convention Schedule

INAFA Convention 2012: Hotel Alert
It seems that another large event will be taking place at the same time as the INAFA convention in Eau Claire, Wisconsin. If you plan to
stay in a hotel during the convention, I strongly suggest that you make your reservations as soon as is possible to ensure that you have
accommodations. Of course, the on-campus housing/meal plan is always an option and is very affordable, if you do not wish to stay in a
hotel. There is plenty of room on campus.
America’s Best Value Inn - (715) 834-6611
http://www.abvicampusview.com/
AmericInn Motel & Suites - (715) 874-4900
http://www.americinn.com/
Best Western Trail Lodge Hotel - (715) 838-9989
http://www.traillodge-eauclaire.com/
Comfort Inn - (715) 833-9798
http://www.comfortinn.com/hotel-eau_claire-wisconsin-WI026
Country Inn & Suites - (715) 832-7289
http://www.countryinns.com/eau-claire-hotel-wi-54701/wiclaire
Days Inn - (715) 834-3193
http://www.stayeauclaire.com/
GrandStay Residential Suites Hotels - (715) 834-1700
http://www.grandstayhospitality.com/
Green Tree Inn & Suites - (715) 832-3411
http://www.greentreelodging.com/
Hampton Inn - (715) 833-0003
http://hamptoninn1.hilton.com/en_US/hp/index.do
Holiday Inn Express - (715) 723-4654
http://www.hiexpress.com/hotels/us/en/chippewa-falls/halwi/hoteldetail
Knights Inn - (715) 874-6868
http://www.knightsinn.com/KnightsInn/control/home
*Plaza Hotel & Suites - (715) 834-3181
http://www.plazaeauclaire.com/
Ramada Convention Center - (715) 835-6121 or (800) 850-6121
Rodeway Inn & Suites - (715) 874-2900
http://www.rodewayinn.com/
Sleep Inn & Suites Conference Center - (715) 874-2900
http://www.sleepinneauclaire.com/
Super 8 - (715) 832-9731
http://www.super8.com/Super8/control/home
If you have questions or need assistance, please contact INAFA via e-mail or by phone: INAFA@AOL.COM or 757-651-8328.
INAFA Convention Hotel
The INAFA Convention hotel is The Plaza Hotel & Suites. Phone: 715-834-3181; Web site: http://www.plazaeauclaire.com/
The special convention block group number is: 7718

More Convention Details
Non-Vendor Convention Raffle Donations Corporate Sponsorships Thus Far
Dr. Oliver W. Jones: 3 or 4 Warble Flutes Visit Eau Claire!
Bette Acker: Original Solo/Duet Book Chippewa Valley Symphony
Bonnie Cox: Gourd Bowl Mona Lisa’s Restaurant
Peter Kelliher: Flute The Goat Coffee House
Albert Arnold: Bird Carving Oregon Flute Store
Joan Arnold: Pottery Canyon Records
Ed Hrebec, Spirit of the Woods Flutes: $350 Gift Certificate UWEC Department of Music
Cornell Kinderknecht’s Master Class: Pre-Registration Required
Three participants will play for Cornell Kinderknecht in a master class situation. The class is called, “Fine-Tuning Your Native American
Flute Skills and Artistry.”
Get fresh ideas on how to expand your skills on the Native American flute, as well as how to fine-tune your songs and performances. In
master class format, Cornell will work with students who are interested in playing for the class and who would like to present songs on
which they are working or improvising. We will explore constructive ways to fine-tune and get the most of our playing through phrasing,
technique, breath control, and performance skills. This workshop is highly interactive and is very educational to those who are playing for
the class and to those who are observing. Open discussion is encouraged. Cornell’s expertise gives practical learning opportunity, while
his light-hearted approach puts students at ease. All conference attendees are welcome to attend.
Those who are interested in being one of the performers for the class should contact Cornell in advance through his Web site:
Private Lessons Being Offered at the Convention
www.cornellk.com
The following performing artists have notified INAFA that they will be offering private lessons at the convention. Please contact the artist
directly to arrange time and cost:
Mark Holland: www.autumnschild.com Cornell Kinderknecht: www.cornellk.com
Peter Phippen: www.peterphippen.com Jan Seiden: www.janseiden.com
Randy Granger: www.randygranger.net John Sarantos: jsarantos@earthlink.net
In the News: Tom Stewart, Stellar Flutes
After almost 2 decades of crafting flutes, Stellar Flutes was honored by Full Focus, a weekly documentary series on KBTC, a PBS affiliate
station, that takes a thoughtful and in-depth look at the people, places, and events in Washington State. The documentary crew spent a
week filming Tom, Erika, and Lily Stewart. The video highlights the Stewart family’s compassion, love, and respect for both the Native
American flute and the Native culture. The documentary also reveals the many ways that Stellar Flutes gives back to the Native
community.
http://video.kbtc.org/video/2203649947/
Peter Phippen and the Eau Claire Chamber Orchestra
On February 18, 2012, Peter Phippen was the featured soloist with the Eau Claire Chamber Orchestra performing the composition, Spirits
of the Forest, Opus 125. The piece was composed by Ivar Lunde, Jr., who wrote the musical work specifically for Peter Phippen.
You can see and hear Spirits of the Forest on YouTube; it is divided into two parts due to length constraints. Peter plays Spirit of the Woods
Flutes and Ivar Lunde, Jr. conducts the Eau Claire Chamber Orchestra.
http://youtu.be/M0iHbTA5e_g
http://youtu.be/RwK49VBAjDQ

INAFA Member Kudos: TerryLee Whetstone
TerryLee Whetstone recently had three songs nominated by Indie Music Channel Awards. The first nomination is from his CD, Peace2love,
in the category of Best Male Easy Listening Artist. The nominated song is “Walking One With Me.”
The other two nominations come from TerryLee’s CD, The Dance, in the category of Best Male Spoken Word Artist. The nominated songs
are “Breaking News” and “Stand Up for the Children.” TerryLee’s music may be found at:
Photo: Bob Jackson
www.cdbaby.com/Artist/TerryleeWhetstone
Ye Olde Stick Corner
The Chancay culture (A.D. 900-1470) originated in a desert about 80 kilometers north of Lima, Peru.
The Chancay, an agricultural and fishing peoples, occupied both costal shoreline and interior valleys.
Their textiles were among the finest in pre-Columbian Peru. They were also amazing artisans,
working in clay, wood, gold, and silver.
They made flutes out of reed/cane, wood, and bone. The flutes have between three and six holes. The
unique feature of the Chancay flutes is that they are V-notched fipple flutes, similar to Nazca flutes of
the time. Sometimes, the flutes of the Nazca were made from the ulna bone of a human, which had
significant meaning to the maker.
This particular Chancay six-hole bone flute is made from the ulna wing bone of a vulture. The flute is
slightly over 9 inches in length, and it has a unique sound and tone. The particular feature that
separates this flute from all other South American flutes is the V-notched fipple. This singular feature
indicates that this flute predates all Incan flutes. The Inca did not conquer the Chancay region until
after 1500 AD, and all of their flutes have a U-shaped fipple notch instead of a V-notch fipple. This
small but distinct feature has a dramatic effect on how these two types of flutes are played. The Vnotch
has a tendency to be more of an edge-blown instrument than the U-notched Incan flute, which
tends to be more of a traditionally blown flute.
This particular Chancay flute is believed to be from around A.D. 1000-1100. Age has caused a few
cracks in the bone between the holes, but I have used museum wax to temporarily repair the flute so
that it can be played.

The Story of the One-Handed Northern Spirit Flute
by Richard Dubé
Early in my career as a music teacher, I had a young student who had recently arrived in Canada and our school from her war-torn
Eastern European country of Kosovo. She was a bright student with a positive attitude and a smile that could brighten even the cloudiest
day. What made her demeanor even more remarkable was the fact that she was missing her left arm from about the point of her elbow.
The first year I taught Jalina (not her real name), she had an artificial arm and used it well to function both in and outside of the music
class. However, when Jalina started in fourth grade the following year, she was not wearing her artificial arm. The school year rolled on
and I never quite found the courage to ask her why she no longer wore her artificial arm. As we approached October, it finally struck me.
Jalina was not going to be able to play the recorder in January with the other students, once we got past our one-handed, three-note songs.
I was quite saddened by the prospect of her not feeling like a part of the class to which she came to belong so naturally.
The next day, I finally gathered the courage to ask Jalina why she no longer used her artificial arm. She explained to me how she had
outgrown the artificial arm and her family did not have the money to purchase a new arm to replace the old one. Her father told her they
would have to wait until she stopped growing before they could afford to get her another artificial limb. Again, my heart dropped and I
felt very sad for Jalina.
When I arrived home that day, I grabbed the mail from the mailbox on the way into the house. As I sorted through the bills, I saw an
envelope from War Amps, an organization initially started to help support our war veterans who were amputees. I had been supporting
War Amps for a number of years with donations for key tags to help them with the work that they now do to support child amputees. I
was dumbfounded! For some reason, seeking help from War Amps had never even crossed my mind. I immediately picked up the phone
and called to inquire about how I could get Jalina and her family connected with the War Amps program. The organization was not only
extremely helpful, but they also mentioned to me that they were having a gathering of kids in the War Amps children’s program in our
very city the following weekend. I was thrilled!
I did a home visit with Jalina’s family and offered to take them to the event, as her father was still learning English, to see if this was
something in which they would like to have Jalina participate. I was so happy when her father agreed to go. The event was an eyeopening
and life-changing experience. There were children of all ages with all types of amputations, some born with them while others
were the result of accidents. There were youth with legs missing, different combinations of limbs missing, and even one youth with both
arms missing, yet functioning so well with two artificial limbs that you would not have noticed except for the hooks at the end of the
limbs. The older youths served as leaders and role models for the younger children. They led most of the activities and made us feel very
welcome.
Just when I thought it could not be more of a positive experience for Jalina, they had another presentation. I was moved to the verge of
tears when I saw and heard young amputees playing music. One girl, who was missing her left arm, played the piano beautifully with her
right hand. We were told that she took her Royal Conservatory of Music piano exams and was graded on all of the work she did with her
right hand. The highlight of the show, however, was a young amputee who played the violin with the aid of a special attachment to take
the place of her missing arm. After her moving performance, it was announced that she was just accepted to study the violin at a
prestigious music school in the United States.
Afterward, I was inspired to see what I could do to help Jalina have the ability to play music. I asked everyone that I could at the
gathering if they knew of any type of special attachment or adaptation for recorder. They mentioned the Aulos company had a recorder
that came in many pieces, so the holes could be moved to fit the person playing it. However, this would not help in Jalina’s situation, as
she did not have any partial digits to use on this type of adaptation. I realized that I would have to continue my research. The bright side
of the evening was that Jalina and her father were both excited about getting connected with the War Amps program for children.
It took about a month of continuous research, both local and on the Internet, before I finally found what would work in Jalina’s case.
Dolmetsch, a German company, developed a recorder that could be played with one hand. The recorder had keys on it like a clarinet. The
keys could be used to open holes that were closed by pads. It was designed in such a way that the player could use one finger to cover a
hole, while at the same time playing a key to open another hole. It was truly ingenious! I was able to talk War Amps into purchasing one
of these Dolmetsch recorders for Jalina to use. She was so thrilled to be able to continue making music alongside the rest of her classmates.
Needless to say, Jalina’s smile continued to light up the music room.
Three years ago, I taught a First Nations student who was missing all of his fingers on his left hand and had one thumb joint. I
immediately thought about the one-handed recorder that War Amps had purchased for Jalina. I phoned War Amps and asked if they
would purchase a recorder for Jacob (not his real name). I was told that they did not do that and that they only helped provide limbs and
attachments. I was very saddened to hear this news. I informed the person I was speaking with that War Amps had purchased a keyed
wooden recorder from Dolmetsch in Germany for a student of mine about 8 years earlier. I asked if it might be possible for Jacob to
borrow that recorder. Eventually, with some persistence on my part, they tracked down the one-handed recorder and it was shipped out
for Jacob to use. Like Jalina, he grinned from ear to ear. Jacob made the most of the opportunity, proudly playing very well alongside his
classmates.
This got me to thinking about the future and how I would eventually be making Northern Spirit Flutes with Jacob’s class. I knew in my
heart that I needed to ensure Jacob would be able to participate and share in the joy and beauty of the Native American style flute. I
contacted Dolmetsch regarding the special recorder and they were kind enough to connect me with Peter Worrel, the gentleman from the
United Kingdom who had keyed the recorder Jalina and Jacob had played. I e-mailed Peter and asked him if he would be willing to try
and do the same work on a Northern Spirit Flute. He said that he would take a look at the flute when it arrived and get back to me.

In the meantime, I changed school divisions and a couple of years slipped by with nothing being done. This school year, a music colleague
who is now teaching Jacob got in touch with me regarding the purchase of Northern Spirit Flute kits for Jacob’s class. Needless to say, this
lit the fire in my belly again. I e-mailed and left phone messages for Peter to see if he would be able to key a Northern Spirit Flute, so that
Jacob could play along with his classmates. I was so thankful and pleased when Peter took on the job of designing a keying system for the
Northern Spirit Flute.
I received the first prototype of the keyed Northern Spirit Flute in early March and began playing it immediately. I have to say that it took
me a bit of time to get used to playing it. At first, I found the fingerings awkward and confusing. However, gradually I was able to play
every note with one hand that I could play on a regular Northern Spirit Flute with two hands. I am convinced that even young students
will have no problem playing the instrument with practice. The prototype flute has since been sent back to Peter Worrell, so he can use it
to complete the work on three left-handed and three right-handed one-handed Northern Spirit Flutes. I asked Peter to send to me the first
flute for Jacob immediately, so he will be playing alongside his classmates like always. I can hardly wait to see the look on his face when
he receives the first one-handed Northern Spirit Flute been built just for him.
Having a flute keyed is very expensive. As a result, I am not doing this project as a moneymaking venture; rather, it is being done on a cost
recovery basis. I am planning on having one-handed Northern Spirit Flutes available on a loan basis to students who are in a class that is
making Northern Spirit Flutes. I would encourage the teacher and student to see if there is a local service club or music supporter who
might pay for the cost of keying the Northern Spirit Flute for the student. If the student is passionate about playing the Native American
style flute, another option might even be to do some class fundraising to help pay for the flute. In the worst case scenario, the student
would have at least had the opportunity to share in the beauty of the Native American style flute while his class is playing their Northern
Spirit Flutes. At the end of this time, the one-handed Northern Spirit Flute would then be returned to me and made available to another
student in need. Jacob’s music teacher is hopeful that a local organization called the “Dream Brokers” will be able to sponsor a flute for
Jacob. If not, I will do my best to find a sponsor for Jacob, so that he can share in the beauty of an instrument that is a part of his First
Nations heritage and culture.
How the One-Handed Northern Spirit Flute Works
The regular Northern Spirit Flute is a mid-A flute made out of food-grade ABS plastic. The one-handed Northern Spirit Flute is a modified
version of the regular flute made from the same materials, with the addition of a keying system. The top three holes are moved to the side
of the flute with the addition of pads to cover them. The pads are connected to a keying system that is accessible by the bottom hand. In
the photos below you can see the regularly placed holes have been taped over. The player is able to lift the pads on the top holes in two
ways. The player has the option of playing with the top of his or her finger to the side of the hole, or he or she can play with the tip of the
finger directly across from the hole. If the player uses the tip of the finger to open one of the top holes, he or she can also use the second
joint of the finger to cover the bottom hole at the same time the player uses the tip to press the key, thus lifting the pad off one of the top
holes. Peter’s ingenious design allows the player to access all possible fingering combinations, so the player can play the full chromatic
scale from c 2 to c 3 and, of course, the lowest note of the flute is a 1 . The range of the mid-A flute, in regular music notation, is as follows:
For more information, please contact Richard Dubé at:
E-mail: fluteman@live.ca or on the Internet at: www.northernspiritflutes.net

Music Is …
Music is listening to what’s being said
It’s the notes that you hear and see dancing all up in your head
You hear often with pleasure
You hear with your heart
You hear about the beginning of the end
You hear of the start
You play with your fingers
You play with your hands
You often play solo
You play it in bands
You play with your mouth with your beautiful voices
It’s all so musically endearing with so many choices
You can play when you’re young
You can play when you’re old
You can play whatever you wish or perhaps what you’ve been asked or told
Whatever you play you play with your soul
Music is humming, singing, whistling, or a beating drum roll
Picking, strumming, or blowing it all sounds good
Music is soothing just as it should
You use sticks, reeds, picks, and bows to create the sounds, and tones, that are all so different
You see sheets of music and notes that make up the music
You can improvise to be indifferent having no bias, prejudice, or preference
In music… you play instruments, songs, and notes, and you have so many choices to reference
You keep the beat with your feet
You play standing up
You play in a seat
Music is crying and oftentimes sadness
You hear pain, when it’s love that you’re after
It can drive you to madness
Music is joyous, and can be full of laughter… it all depends at the time what feeling you’re after
Music is relationships, good and bad
Music is feelings of being happy or sad
Music reminds us all of what we have or have had
Music is good, but sometimes causes tears
It’s usually not much more than a feeling of fears
Music is theory
Music is soul
Music gets more interesting as you grow old
Music is giving… it’s also letting go
Music is caring and it tugs at your heart
Music is sharing with the hope you never part
You can taste it, smell it, and see it each day… remember music is listening to what’s being said …
Music lives on in your head
Music is colors and you paint the picture
Music is whatever you want it to be since you are the listener.
~Bob Nelson~
INAFA Member Kudos: Ted Ceplina
Congratulations to Ted Ceplina who just received word that he
won a full scholarship to study in India. INAFA had hoped to see
Ted at the convention in Eau Claire, but we are so pleased that he
has this wonderful opportunity to study in India. Ted builds
replica flutes in the style of Richard Fool Bull and Dan Red
Buffalo. He also makes quena, zampoña, and bansuris. We are
sure to see Ted Ceplina at the 2014 INAFA convention!
In the News: Mithril
The Celtic ensemble Mithril, featuring flutist Andra Bohnet, was
featured in the April/May 2012 edition of the Americana Gazette, a
music magazine out of Wisconsin. The article is called, “Mithril:
Taproots of Americana.” Mithril will be performing at the 2012
INAFA convention.
In the News: Jan Seiden
Jan Seiden composed and recorded original music for the
Chickasaw play, Te Ata, which will be performed this summer
season in Oklahoma and in Washington, D.C. Funding for the
soundtrack was provided by a grant from the Ford Foundation, in
partnership with the Smithsonian’s NMAI and playwright
JudyLee Oliva.
Oklahoma City, Oklahoma shows: June 14-24, 2012
Chickasaw Nation, Arts and Humanities Division: 580-272-5520
performance@chickasaw.net or www.chickasaw.net/teata
Washington, D.C. shows: July 5-8, 2012
Smithsonian Museum’s National Museum of the American Indian,
Rasmuson Theatre
www.nmai.si.edu or 202-633-1000

Elliot Napp’s Workshop Attracts Sandhill Cranes
by Pat Smith
Elliot Napp organized and John Sarantos facilitated the 8th Annual Madison Four Lakes Flute Circle
Gathering and Workshop in Mt. Morris, Wisconsin, with the theme being “Basics and Beyond.” This
year, Sandhill cranes decided to check out the magical sounds coming from our building. Needless to
say, we all were mesmerized by the experience.
Imagine that you are attending a workshop in the middle of a beautiful, wooded conference center. You are
listening to a Native American flute duet. The beauty of the setting, the lyrical melodies coming from the flutes,
and the camaraderie of friends create a sense of spiritual centering. Suddenly, someone cries out, “There are
Sandhill cranes on the deck!” The flute music continues while everyone rushes to the windows to get a view of
the cranes. Humans and birds look at one another from totally different perspectives, yet both are drawn together
by the flowing notes of flute music. The beautiful sound waves bring together the two existences. We discovered
that it is rare that the cranes come close to the buildings. Yet, there they are. This is indeed an inspirational gift
for the weekend.
And, it truly was a weekend of inspiration and community. Twenty-five people who love music and their flutes came together to expand
their repertoire under John’s guidance. There were beginners, flutists developing proficiency, and players who were more advanced. All
were present in nature, learning in a safe environment and developing skills to make their music sing in its fullest voice. John carefully
guided all levels, yet gave to us ample time to incorporate his teaching into our playing.
Then, we shared our new knowledge with one another. We heard new things from other people and asked them to share how they did it.
We offered suggestions to those who wanted input on how to improve a piece being worked on. We had tables where we could buy and
sell flutes and CDs. Best of all was John’s concert where we heard the subtle nuances that the flute can express. Finally, we all took part in
the open microphone time in the evening during which we let loose and tried it all – flute music, rhythm with percussion, and dance.
Throughout the weekend, we took turns learning about playing embellishments, solos, duets, trios, and quartets. Then, we explored
percussion instruments like frogs, drums, bells, tingsha, and singing bowls. There were smiles, laughter, tears, and many hugs, resulting
from the emotions and spirit of the songs. Plus, there was always the excitement when someone said, “Wow, I found a new note that I
haven’t heard before!”
We had our own building in which to work and learn. We had plenty of space, comfortable accommodations, and a full kitchen where we
kept our snacks, water, coffee, and tea. We devoured incredible meals in another building, and we walked the hiking paths to explore
nature and work off the meal.
New skills, new friends, new music, new sounds, and Sandhill cranes all happened that weekend. We cannot thank Elliot enough for his
years of dedication and for providing a venue for us to develop our skills and love for this beautiful instrument. Everything was perfect.
Elliot’s love of the flute and generous spirit keep on giving year after year.
INAFA Membership Directory
The membership directory is now available. It will be e-mailed to interested members who contact the organization to request the
directory. It will be sent via e-mail in a PDF format. For those who do not have access to the Internet, a hard copy will be mailed via the
U.S. Post Office.
The INAFA membership directory represents only those individuals who have returned their completed directory inclusion form, thereby
granting permission to the organization to house and distribute personal information in this format. Therefore, this directory is not a
complete list of the INAFA’s membership.
Please note that all members who have access to this directory may only use it for informational purposes. The directory may not be used
as a source for event, product, or service marketing or for recruitment purposes in any way, shape, or form. By receiving the membership
directory, you are agreeing to all regulations concerning the membership directory.
The membership directory may not be printed, made into a database, posted on the Internet, or forwarded. This directory may not be
shared with individuals who are not members in good standing of the International Native American Flute Association.
To request a copy of the INAFA membership directory, please contact:
INAFA
3351 Mintonville Point Drive
Suffolk, VA 23435
Phone: 757-651-8328
FAX: 757-538-2937
E-mail: INAFA@AOL.COM

Lessons on Lessons
by Clint Goss
If you mess around with flutes long enough, someday you will find yourself giving a lesson. It might be to help out a first-time flute
player at a festival, coaching novice players at a flute circle, or something more formal such as a class presentation. But, whatever the
context, there are some basic guidelines to making the transition from player to teacher that we will look at in this article.
Unlike formal school programs, flute lessons come in many shapes and sizes. There are one-on-one lessons and group classes. These can
be single sessions, multiple sessions over several days, periodically throughout a semester, or done occasionally over a long timeframe.
And, unlike formal school programs that assume all students have a quantifiable background in a lock-step program of learning, Native
American flute students arrive with vastly different musical and life backgrounds. They also have a wide range of goals. Combine that
with your own specific background and approach to the instrument, and the teaching possibilities are endless.
How People Learn
Given all these teaching scenarios, it is useful to look at some of the basics of how people learn. The generally accepted model is that we
have a limited “working memory” (or “short-term memory”) in which to take in new information and actively solve problems.
Meaningful observations and problem solutions move into our vast store of long-term memory that grows into our mental representation
of the world (Atkinson, 1968). This world-model, co-created with our environment, enables us to recall solutions to real-world problems
by finding matching situations from long-term memory, without burdening our limited working memory in problem solving. This is seen
when chess players recall board configurations from long-term memory, rather than puzzling through each move (see Groot (1965), Chase
(1973), and Burns (2004)). I believe that we see it when a flute riff is called upon as a single learned unit, or when appropriate ornaments
just emerge at appropriate places in our melodies.
A widely accepted theory of learning says that learners can only construct a mental representation of the world through engaging in active
cognitive processing (see D'Angelo (2009) for an overview of constructivism). You cannot open a student’s brain and pour in the
information – they must process it through an active process that engages the mind. Or, in the famous quote from Confucius: ”I hear and I
forget. I see and I remember. I do and I understand.”
Building Blocks
The extreme limitations on working memory mean that new information can only be absorbed in small chunks. For example, if someone
is interested in learning to play a “pop” ornament, typically used at the end of a melodic phrase, you might break it down into several
components. Since it involves a combination of breath articulation and finger dexterity, you can work on each skill separately:
*Have the student say the word “what.” Then, transition to breathing the “what” without vocalizing it, cutting off the airflow as
the tongue clamps to the roof of the mouth.
*Practice the new skill.
*Then, get used to the finger motion of going from (xxx|xxx) to (oox|ooo) in one motion, without breath and sound.
*Practice this new skill.
*Then, combine the two new skills in one “pop” ornament.
*Practice the combined skill in isolation.
*Practice playing short phrases that end in a “pop.”
This is the “building block” approach to lesson plans, based on the assembly of solutions from a solid foundation of learned sub-solutions.
As knowledge and skills increase, the base expands, supporting further learning.
The goal in teaching the “pop” ornament is not only to wire the complex finger and breath motions into long-term memory, but also to
associate them with the sound and feel of the ornament. I believe that the association with the sound works in reverse when we are
playing, causing us to “hear in our mind” the sound that we want and also causing the ornament to appear in our music, not by conscious
thought but by an association between sound and the finger/breath motions in long-term memory.
Interestingly, excellent background in the best practices of learning is provided by an unlikely source: the Federal Aviation
Administration. Their Aviation Instructor’s Handbook (FAA, 2008, available free as a PDF) provides a practical roadmap for experts in a field
who have no background in education. The 1977 version of that handbook was my constant companion when training to be a flight
instructor, and those same skills transfer beautifully to teaching music.
One element emphasized by the Aviation Instructor’s Handbook is lesson plans. The outline for teaching a “pop” ornament is a good
example – an outline for teaching a skill. Developing these approaches and outlines takes time. But, as your interest in teaching grows,
you will start asking yourself, “How could I teach that?” Simply developing a mental plan for how you might teach something will begin
to build up a mental library for teaching the myriad elements of the Native American flute, as well as music in general.

Fully-Guided Versus Partially-Guided Instruction
A major debate within the education field for more than 50 years centers on how students learn most efficiently. The approach of fullyguided
instruction advocates providing the student with full, explicit instructional guidance – providing demonstrations and direct
guidance for the proper or best way to accomplish a task. The various partially-guided approaches to instruction, including discovery
learning, problem-based learning, inquiry learning, experiential learning, and constructivist learning, are designed to provide partial or
minimal instructional guidance and expects students to discover some or all of the concepts and skills on their own. Partially-guided
advocates take the view that students do best when they construct their mental world model through guided self-discovery.
Significant effort has been put into researching these techniques, and some educators have recently declared that the debate is over, citing
that fully-guided instruction is more efficient and has the best long-term results (Clark, 2012 and Kirschner, 2006).
However, what these studies offer us may be limited in scope. I believe that fully-guided instruction is ideal when teaching small, welldefined
tasks such as the “pop” ornament. But, when looking at the larger context of adults seeking personal expression and selfactualization,
self-discovery methods might be exactly the best approach.
Take, for example, the activity of listening to music and how it might help a new flute player. Most of us listen to a lot of music, but often
in a relatively detached, entertainment-based fashion. But, as musicians, there is a wealth of things we can learn from deep music
listening. You might listen to a piece of music with a student, and then offer the things you heard, such as song structure; the use of
ornaments; the variations in different repetitions of a verse or chorus; the use of rhythm; sound textures; dynamics; silence; beginning and
ending styles; and song forms such as solo-drone, echoing, call-and-response, or shadowing. Then, ask the student to bring a piece of
music the next time and offer his or her own self-discovered analysis. The rationale for this approach is the basics of constructivism -
converting an otherwise passive casual listening experience into an active cognitive process.
Another aspect of teaching music relates to the many cultural messages that we receive by the time we are adults concerning our own
musicality. This often interferes with the basic aspects of our music development. Adults who have been told, and now believe, that they
have no rhythm are a good example of people who, I have found, do not respond well to direct, fully-guided instruction. After years of
experimentation and coaching in humanistic teaching techniques, I have found that:
*Putting flute players in an environment of strong, simple rhythms, on a sound system or with live drummers,
*Having them move to the rhythm, then
*Join the rhythm with their voices, then
*Reduce their vocalizations to just breathing and moving along with the rhythm, and then
*Playing simple long tones along with the rhythm, while continuing to move
can turn the most musically inexperienced players into playing right along with the beat. The experience is set up in a fully-guided way,
but the learning and feeling of accomplishment are born of self-discovery: “Yes, I do have rhythm!”
Lesson Structure
Another challenge is how to structure a lesson, especially if it is a single one-on-one lesson with a new student. After finding out a bit
about the student’s background and intentions, I often ask him or her to “play something.” From a humanistic approach to teaching (see
Chapter 17 of Rowan, 2005), which places the teacher in the role of supportive facilitator rather than judgmental critic, we realize that even
a request such as “play a song” can put students into crisis mode, so “play something” or “play anything you like” can be far more
effective.
Beginning a lesson with unstructured playing by the student is a great way to focus and structure the lesson. The focus is off the teacher,
giving us freedom to listen, observe, and diagnose the areas where the student has the most opportunity to improve. For me, the game is
to come up with two or three things to focus upon – ideally a mix of areas that can be immediately improved, as well as areas that can be
set as more long-term goals.
Maybe the student uses only one attack at the start of each note. Maybe he or she has not yet developed vibrato or is playing at a very
quiet volume. Maybe the student is uncomfortably stiff in body movements, or has choppy note endings. You might pick a few of these
trouble areas and structure exercises to overcome them. Of course, simply telling the student, “You are too stiff when you play,” is not
very helpful. This is where fast thinking and creativity, and practice in lesson plan structuring, comes into play. How can we get the
student to loosen up? Perhaps say, “Great … play the same thing, but walk around the room while you’re playing.” If the student is still
stiff, try saying, “Now, make small circles with your shoulders as you walk and play.”
For people who always play in a certain way, such as very quietly, it may simply be a matter of helping the student explore other styles.
One thing you can do is to have him or her emphasize the trait that you would like to change: “Can you play that extremely softly?” That
request followed by, “Can you now play it extremely, ridiculously loudly?” Then, you could move on to having the student play a phrase
very softly, then very loudly, then back to soft, and so on. This approach avoids the problems of teacher criticism while allowing the
student to expand their musical options.
Some things, such as teaching vibrato, are special topics that deserve research to find the best teaching approach. After many experiments,
I have found that having students lay down on a fairly hard surface and attempt vibrato breathing with one hand on the belly can
dramatically shorten the time it takes to grasp vibrato. However, the student should know that, while most techniques on the Native
American flute can be learned with a few minutes of practice a day for a week or two, vibrato can take a year or more to correctly develop.

Possibly the most valuable idea that you can offer during a lesson, especially in a single one-on-one lesson, is to share music training and
enrichment techniques that a student can bring forward into his or her everyday life. Simply the act of walking can be a musical exercise,
as well as windshield wipers slapping, singing in the shower, meditating on the breath on a busy train, deep music listening, readings
from your suggested reading list, and listening to all the sounds in the environment. The list is endless.
Moving Forward
Of course, this article just skims the surface of a substantially deep field. If you are teaching a class, do you need a textbook, and which
one will you use? How do you handle students with a high level of flute experience, or with formal music theory training? Here is advice
from Cornell Kinderknecht, an experienced flute teacher with extensive formal music training:
*After you develop your lesson plan for a single one-on-one lesson, cultivate elements that apply to on-going lessons. These can
include: learning more about the student personally in order to bring that into their music; setting goals that are per-lesson and
longer term; finding how to measure and instill a sense of achievement over time; strategically dealing with set-backs; and
motivation.
*Explore the different types of learners and various personality types. Become comfortable teaching musicians who follow by
example; those who like step-by-step details; those who like to play solo versus duets; those who like to improvise versus
compose their melodies versus those who like to play established melodies; and those who need more or less encouragement to
flourish.
*Study some classic forms of traditional music education, such as the master class, dexterity exercises, and composition
techniques, and explore how they can be applied to the context of a Native American flute lesson. Find how to strike a balance
between reinforcing a student’s own style of playing and sharing your particular style and approach to the instrument.
In the end, I have found that a focus on teaching brings me a far deeper understanding of my own musicality and, ultimately, a stronger
connection with the instrument. And, as another old saying goes, “The best way to learn something is to teach it!”
References
Atkinson, R. C. (1968) and Shiffrin, R. M. Human memory: A proposed system and its control processes. In Spence, K. W. and Spence, J. T.
(editors), The Psychology of Learning and Motivation: Advances in Research and Theory, Vol. 2, Academic Press, New York, pp.
89–195.
Burns, Bruce D. (2004). The Effects of Speed on Skilled Chess Performance. Psychological Science, 15(7), pp. 442–447.
Chase, William G. (1973) and Herbert A. Simon. Perception in Chess. Cognitive Psychology, 4(1), pp. 55–81.
Clark, Richard E. (2012, Spring), Paul A. Kirschner, and John Sweller. Putting Students on the Path to Learning: The Case for Fully Guided
Instruction. American Educator. pp. 6–11.
D'Angelo, Cynthia (2009), Stephanie Touchman, Douglas Clark, Angela O'Donnell, Richard Mayer, David Dean, Jr., and Cindy Hmelo-
Silver. Constructivism. The Gale Group. Available on Education.com at
http://www.education.com/reference/article/constructivism/
de Groot, Adriaan D. (1965). Thought and Choice in Chess. Mouton Publishers: The Hague, Netherlands. Originally published in 1946.
Federal Aviation Administration, U. S. Department of Transportation (2009). Aviation Instructor’s Handbook. FAA-H-8083-9A. Available
at in PDF at http://www.faa.gov/library/manuals/aviation/aviation_instructors_handbook/
Kirschner, Paul A. (2006), John Sweller, and Richard E. Clark, Why Minimal Guidance During Instruction Does Not Work: An Analysis of
the Failure of Constructivist, Discovery, Problem-Based, Experimental, and Inquiry-Based Teaching. Educational Psychologist,
41(2). pp. 75–86.
Rowan, John (2005, November). A Guide to Humanistic Psychology.Third Edition. UK Association for Humanistic Psychology
Practitioners.
Round-Up Program for INAFA
This program allows flute consumers to “round-up” the total of each order to the nearest $5 or more and donate the difference to INAFA.
Ed Hrebec of Spirit of the Woods Flutes, a generous activity in which he still engages to help the organization, started this program. We
welcome other flute makers and retailers to participate in this program. We will create an advertisement page on the INAFA Web site for
those who participate in the program. If you are interested in helping the organization in this manner, please contact INAFA at:
INAFA@AOL.COM or 757-651-8328.

Randy Motz’s Canyon Whispers
by Mary Munarin
Randy “Windtalker” Motz describes his second album, Canyon Whispers, as “a 14-song CD that seeks to take the listener on a soothing
musical journey through the majestic lands of the American Southwest, home of the Ancient Ones, a land of breathtaking and magical
landscapes where Native history is still etched on every desert and mesa and where the gentle whispers of a proud people still echo in
every canyon.”
Mary: Randy, the last time that we talked you were fresh off the Appalachian Trail, the subject of your first CD, Native SoundScapes.
Now you are in my territory, the American Southwest. How did that come about?
Randy: I have always loved the majestic landscapes of the Southwest, and I have been fascinated with Native American history, culture,
and ceremonies. However, my first real trip to this area did not come about until 2007, when my wife and I took an 8-day raft trip on the
Colorado River through the Grand Canyon. I was totally mesmerized by the natural grandeur surrounding me and found the scenery to
be beyond words. I had one of my flutes with me and would play from a hillside or in a canyon when we camped for the evening. One of
the crew members of our raft was a full-blood Apache, and he and I became friends as the trip progressed. One evening, he invited me to
bring my flute to a secluded beach by the river where we began a back-and-forth conversation, he chanting in his Native language and me
echoing his chant with my flute.
Mary: I think I am envious. Playing in the canyons, with chanting! What synergy you must have experienced.
Randy: It was a magical moment, made more memorable by the fact that we were surrounded by the towering cliffs of his Native land.
Several years later, my wife and I spent 2 weeks in the Four Corners area visiting iconic locations such as Bryce and Zion, as well as Mesa
Verde, Canyon de Chelly, and Chaco Canyon. Having my flutes with me, I took every opportunity to become one with my mystical
surroundings, letting the flute take me where it wanted to go. One evening, as we were camping in Chaco Canyon, we visited Pueblo
Bonito in order to participate in a moonlight tour led by the National Park Service. As we waited for the tour to begin, I pulled out one of
my flutes and started playing. The ranger, who would later be leading the tour, asked if I would play for it. It was an honor to be asked.
As the sun set and a full moon rose over Pueblo Bonito, I stationed myself inside a large ruin where the ranger would later be bringing the
tour. I was directed to play from my secluded location so the people on the tour could find their way through the ruins, in the dark, to
where I was. I ended up playing for more than 20 minutes, until everyone was inside. The melodies simply seemed to flow effortlessly
from my soul and into my fingers. It was as if the Ancient Ones, who used to inhabit this pueblo, were speaking through me. It was truly
an inspirational moment. It was then that I knew I needed to produce a CD that would capture, in music, the awe and wonder that I
experienced traveling this part of the country. One can try to describe the beauty of the American Southwest in words, and one can even
show people the wonders in photographs, but to truly capture the "feeling" of this land it needs to be set to music.
Mary: That is so true. So, how did you get started on the project?
Randy: Unlike my first CD, Native SoundScapes, where I composed every song, played every instrument, and recorded it at home, this
project went a different route. Clint Goss and the accomplished composers and musicians at Manifest Spirit Records provided the
exquisite musical backdrop for this project, which allowed me unbridled creative freedom. I had freedom to fashion my glorious
memories of the Southwest into songs that melodically portray the mystical grandeur of its landscapes, capturing the eternal influence
that Native cultures have left on the land.
Through a partnership with Clint, who I studied under at several flute festivals and at his annual Flute Haven Native American Flute
School, I was able to acquire the backing tracks for all 14 songs. Over the years, Clint has assembled a very talented group of composers
and musicians who have recorded Jam Tracks CDs for flute players to use in live performances. Under an agreement with Clint and
Manifest Spirit Records, I was able to use these tracks as the foundation for my songs.
Mary: I noticed that you credited the creators of the tracks you recorded, including Clint and Michael DeMaria, the two who would be
most familiar to our readers. You made excellent use of the versatile Jam Tracks, which have been embraced by so many players. They
inspire even beginners, and it is astonishing how much variety is possible from the foundation that they provide. Rather than being
confining, the tracks encourage one to improvise and play from the heart.
Randy: Yes. I composed my own melody lines for each song, added additional percussion, keyboard, string, and harmonica parts, and
went into the studio to record and mix everything together. I added other instruments to this project, such as drums, shakers, rattle, wood
block, and harmonica, all of which I played. I also had a long-time friend and accomplished keyboardist, Teresa Aquaviva-Thomas, add
string parts to several of the songs that gave them a totally different feel from the original tracks. The project was recorded in Mount Airy,
Maryland, at Acacia Recording Studios, and engineered by Grammy Award-winning engineer Luke Rohwer.
Mary: Tell us something about the songs on the album. The titles are really descriptive of the music.
Randy: Through "Pueblo Bonito Silhouettes," "Chaco Sunrise," "Cliff Palace Serenade," and "Taos Sunset," the listener can readily envision
these iconic cultural landmarks. The awe-inspiring landscapes that are the hallmarks of Utah, Arizona, New Mexico, and Colorado, the
Four Corners area, are captured in "Zion Echoes," "Grand Canyon Winds," "Sedona Moon," "Canyon Whispers," and "Eagle's Flight." And,
the oftentimes mysterious, but always beautiful and spiritually grounded, traditions of the Native cultures are honored with "Kiva
Dance," "Ancient Ones," "Earth Spirit Visions," "Dream Catcher," and "Forever Begins Today."

Mary: I particularly liked the opening selection, “Cliff Palace Serenade,” which I found to be pensive and cozy, a haven from the
implied thunderstorm outside. I also liked “Chaco Sunrise,” a slow piece that greets the dawn of the new day. Oh, and “Eagle’s
Flight,” with its lazily soaring pace is lovely, too. There are more lively songs as well, a nice mixture and pace.
Now, what is next for you?
Randy: Right now, I do not have another project on the drawing board. I am currently busy promoting Canyon Whispers through
Amazon.com, CD Baby, and iTunes. I also regularly perform songs from both CDs at coffee houses, wineries, and festivals. I have
incorporated my wife's photos of the American Southwest, as well as the wilds of the Appalachian Trail, into my performances. As I play,
I project a steady stream of her photos on a screen behind me, which adds a unique and captivating element to the music. I am also an
author, with two books to my credit, and my next project is to write a third book before beginning a new CD project.
Mary: Sounds like you have plenty to accomplish. But, I will be watching for that next musical inspiration to catch you.
Canyon Whispers is available as a full CD or as individual downloads from Amazon.com and CD Baby.

Chris Floyd’s A Flock of Magpies
by Joan Johannes
Chris Floyd. A Flock of Magpies, Celtic & Folk Melodies for Native American Flute. Original Compositions, Arrangements,
Illustrations, and Design by Chris Floyd. Published by Egregious Grebe Press, All rights Reserved, 2009.
I recently purchased Chris Floyd’s songbook, A Flock of Magpies, Celtic & Folk Melodies for Native American Flute, and thoroughly enjoy
playing his transcriptions of Scotch/Irish traditional songs, as well as original songs with a Celtic character. These songs are enjoyable to
play and would be a welcome addition to the collections of those Native American flute players who read TABlature and who enjoy
having new fluting experiences. In his introduction, Floyd admits to being troubled at first because his Native American flute music did
not sound “Native American.” Later, he wisely decided that his tunes might “provide some small inspiration for another’s [sic] musical
ramblings.” That is exactly what Native American flute compositions should do, meaning that the songs should invite players into the
world of the composer so that they can use the experience to enhance their own music. The fact that Floyd’s melodies do not sound like
other Native American flute songs is, ironically, what makes them so useful to other players and so delightful to play. Rather than being
copies of Native American-style music, these songs are the “Chris Floyd experience,” given voice through the Native American flute! For
those flute players who are not of Native heritage, that is the best way to be true to the origins of this instrument.
Many of Floyd’s original compositions and transcriptions are inspired by nature, and, since most Native American flute players also find
nature inspiring, these songs are very appealing. The nature images appear in the titles and are briefly explained. For example, “Chocolate
Lily Waltz,” a lovely original tune with an Irish character, is named for a flower. “Culross Passage,” another beautifully lyric song, is
named for “a narrow strait in western Prince William Sound, haunted by loons and kayakers and frequently shrouded in fog.” Having
this description with the song affects the way a player interprets it, resulting in a musical experience as haunting as the loons and fog that
Chris describes. In addition, “Kachemak Bay” and Callisto Head,” also original compositions in a lilting Irish style, take the player to both
Alaska where Floyd lives and to the Old World. If you picture swallows at dusk, as you follow the dynamic markings in “The Swallow’s
Lullaby,” you will find yourself aurally experiencing swallows in flight.
Floyd’s use of various musical markings contributes to the appeal of his songs. The fermata, ritardando, crescendo, decrescendo, and
dynamic markings help the player interpret the music, without taking away the creative choices that make the Native American flute so
enjoyable to play. This is because Floyd does not clutter up the notation with embellishment markings, which often makes sheet music
visually intimidating. Additionally, including detailed embellishment markings is not particularly useful, since each player uses
embellishments that have become part of his or her individual style. Floyd, however, includes numerous dynamic markings, along with a
short glossary of terms, wisely keeping this part of his songbook brief because “there are several books available that do a fine job of
introducing music notation.”
In addition to effectively marking the dynamics for his songs, Floyd’s mastery of music composition and flair for creating memorable
melodies make this songbook worth owning. Floyd’s songs have shape and musical “hooks” that cause the melodies to stay with the
player/listener. They flow melodiously, and the notation matches what he is playing on the accompanying CD. I deliberately chose to
play each of the 24 songs several times before listening to the CD, and I was impressed that Floyd’s music notation skills are as good as his
playing. I do not intend this praise of Floyd’s songwriting skills as a criticism of improvisational flute music, as that approach can be very
effective, but beautiful improvisational playing requires phrasing, inflection, and mood, in addition to pitches. Often, these concepts do
not easily translate into music notation. However, since the purpose of a songbook is to present songs in notation, it is a true delight that
Floyd notates music so well.
Likewise, I realize that there are many Native American flute players who learn songs by ear, so the correct TABlature notation is not
important. For that reason, the fact that Floyd’s songbook comes with a CD of the songs will make it possible for auditory learners to enjoy
his music. Non-TABlature readers might have found it useful if Floyd had listed the key for each flute on the CD; however, it did not take
me long to identify the keys and jot them down in my book. This would also be easy for people who play by ear. I wanted to know the key
for each song, so that I could harmonize, create descants, and/or play around the melody lines. Other flute players may want to know
what flutes are being used in order to play along as a way to learn the songs.
The fact that many Native American flute players do not read TABlature or music notation brings up the point that Floyd chose not to
have finger chart notation under the Nakai TABlature, a choice that I appreciate. Although he has heard from a few people who were
disappointed that finger chart notation was not included, Floyd and I share the feeling that finger charts interfere with the playing
experience, rather than making it easier. When I buy books with finger charts, I cut off the charts and reassemble the books. One book had
an 11-page song that now fits on 4 pages, requiring only one turn of a page if I am playing with the CD accompaniment. With the finger
charts spreading out the song to many pages in length, it was difficult to turn pages and impossible to turn back to the correct pages for
repeats. Besides, if a player cannot read music, and cannot learn TABlature, he or she is going to learn the songs by ear anyway. If a player
understands the concept of TABlature, but keeps forgetting some of the fingerings, writing in finger chart notations for troublesome notes
can solve the problem.
But, I digress. Chris Floyd realizes that he has created A Flock of Magpies for “a very narrow niche market,” meaning those Native
American flute players who read Nakai TABlature. However, since these songs are a delight to play, I am glad that he did. So, although I
have a great respect for players who choose to play only their own songs and have no need for TABlature unless they want to share those
songs, it does not make sense to want to play other people’s songs and yet not want to learn the language to make that possible. Therefore,
Native American flute players who are interested in learning Nakai TABlature can easily learn it by using this book. It includes some
simple and beautiful melodies, including the familiar “Simple Gifts” and “Ragland Road,” which are good choices for practicing

TABlature reading, because they have limited note variations and repetition of easy-to-finger note sequences. The Nakai TABlature
fingering system is also included in the front of the book.
Learning other people’s songs, however, is not what most Native American flute players do, but if you are reading this review then you
most likely have an interest in songbooks. Also, since I bought Floyd’s book and enjoy it so much that I am reviewing it, I would like to
point out some of the ways that playing Floyd’s music, as well as other people’s music, can positively affect your flute playing, in addition
to providing you with an entertaining flute experience.
First, Floyd’s music provides an experience with a new style for many Native American flute players, since he is the only Native American
flute player I know of who is publishing original reels. These reels are my favorite songs in A Flock of Magpies. Floyd’s reels combine his
creativity with the traditional Celtic form. I had never played a slip-jig before “Salmon in the Spring,” which was one of Floyd’s
contributions to the INAFA Songbook compiled by Dr. Kathleen Joyce-Grendahl. When I played through that collection, Floyd’s melodies
appealed to me immediately, and I found out about A Flock of Magpies because I encouraged him to submit to the second INAFA
collection. Playing Floyd’s reels is fun and gives the fingers a work out. Also, letting a flute sing for joy while your fingers dance is a nice
reminder that the flute can celebrate, as well as lament. I also love haunting melodies, and Floyd’s variations on the traditional “Shule
Aroon” (also known as “Johnny Has Gone for a Soldier”), his arrangement of Dvorak’s “Going Home,” and others in his book provide
that mournfully beautiful playing experience. But, the slip-jigs, such as the title song, “A Flock of Magpies,” have memorable melodies
and are a pure joy to play.
Besides, any new playing experience opens doors to walk through when creating your own music. For example, in “Hunting the Bolete,”
another slip-jig and my favorite of Floyd’s compositions, he repeats a pattern of dropping from high, fast note sequences to the
fundamental note and then back to the high pattern. This passage sounds almost like the technique called “crow style.” Then, he breaks
this pattern with a cadenza-like interlude marked “ad lib,” followed by two fermatas at the end of a decrescendo. Following these
instructions not only adds variety to my playing, but also gives me ideas to use in compositions and/or improvisational playing.
Finally, in addition to providing an enjoyable playing experience that I find myself being drawn to again and again, A Flock of Magpies is a
visual experience, as well. Floyd created the art in the book, as well as the layout. I love the happy expression on the faces of his magpies.
Also, his text is informative, concise, and visual. Floyd’s experience as a part-time artist and designer shows in the way his words flow
around the page, often emitting from or arriving at a bird, bug, or even a plane! The text, glossary, and descriptions are useful, concise,
clever, and artistic, as well.
So, for those of you who enjoy playing other flute player’s/composers’ songs or are interested in learning that skill, you will enjoy Chris
Floyd’s splendid collection of original and transcribed songs in A Flock of Magpies.
Central Wisconsin Flute Circle
In January, CWFC member and flute maker Tom Gustin gave a talk about
Native American flutes to retirees in Tomahawk, Wisconsin. This was
through the Northland College Continuing Education Program. That
evening, Tom held a flute construction class at Treehaven, a University of
Wisconsin-Stevens Point field station. Six students made their own flute.
On Saturday afternoon, students were instructed on how to create a song.
Everyone dispersed for a few hours and came back with a song to play for
the group. The class ended with excitement and a new path to follow.
In the spring, the Wisconsin River Woodcarvers hosted a woodcarving
show at the Patriot Center in Schofield, Wisconsin. The center is attached
to the Cedar Creek Mall. Flute maker Tom Gustin gave a presentation on
his style of Native American flutes.
On June 9 and 10, 2012, the CWFC attended the annual Point Basse Festival. Bob and Juan Carron talked and demonstrated their
woodcarving and Tom Gustin demonstrated his style of Native American flutes. Each demonstrator was required to be in period clothing,
following the path of the early pioneers during the 1850s.
As the CWFC moves north along the trail to August 18, 2012, they will put down some roots on the Lowland Buffalo Ranch on Highway
C, west of Stevens Point, Wisconsin. Phil and Ione Hausler will open up their farm for the day to introduce their buffalo to the public.
Buffalo burgers will be on the menu. A variety of Native American vendors will be present. Some of the demonstrators will be a flute
maker, drum designer and makers, Indian beadwork, wool weaving, and an individual demonstrating the function of the Native bow and
arrow.
Fresh Voices! Write for Voice of the Wind
The INAFA is always looking for contributors to its quarterly publication. If you have a story, a poem, an article, an announcement, an
anecdote, music, or a testimony, please feel free to submit it for publication. This is a member-driven publication. The readers want to hear
from you!

Rock Art + Music = Peace
by Laura Wilson
Have you ever stumbled upon a place during your travels with which you feel such a connection that you just know you will return one
day, even though you have yet to leave?
This happened to me around Thanksgiving of 2009. My husband and I had decided to take a road trip to the Trans Pecos area of South
Texas to explore the area, as well as enjoy hiking. We made reservations in advance to hike Presa Canyon. During the hike, our
archeologist guide recommended that we take part in another hike across the street at the White Shaman Preserve. We woke up early on a
Saturday to take part in the White Shaman hike, led by our guide Gary Kendrick of the San Antonio Rock Art Foundation. This is where
my journey truly began!
Gary, our guide, led us down into the White Shaman Preserve, and he shared with us his interpretation of the petroglyphs. The images
told a story that spoke to my heart, with the breeze off the Pecos whispering in my ears. As I breathed in and out with my eyes closed, I
knew that this would be a place to which I would one day return. At the close of our hike, Gary honored the ancient people by playing a
moving song using his Coyote Old Man flute. Little did he know that his flute playing resonated with me, because I am also a student of
the Native American flute.
Since my initial journey began, I have returned several times accompanied by my closest of friends with whom I have shared my
newfound passion for the rock art in Texas. Last year, my dear friend Randy Granger was going through a difficult time of personal loss
and I had invited him to be my guest at the Rock Art Rendezvous at White Shaman Preserve. I asked him to just come and spend some
time healing and camping out under the Texas stars. As Randy began his own journey, he discovered that the petroglyphs were images
from his ancestors and he felt an immediate connection with the images and their significance.
Randy has been invited to the White Shaman Preserve this year as a performer, from October 12 through 14, and he has graciously
accepted the invitation to return to the place where he once felt such a connection. Randy Granger said the following about the Rock Art
Rendezvous:
“What impressed me about the Rock Art Foundation was the reverence they bring to these sites. They understand the deep
value and are working to preserve and document as much as possible. They work tirelessly with private landowners where the
pictographs/petroglyphs are located. There is no government funding or involvement, so pure passion, hard work,
volunteering, and education is how they do it. Being a full-time independent musician, I can relate to that model. I was honored
when the idea of me doing a more substantial concert at the 2012 Rendezvous came up. I have so much respect for this group
that I am waiving my usual performance fee. It will be a new moon, so the stars will be shining bright. I could not think of a
more perfect setting for some flute and Hang music. You hike all day, look at enchanting rock art, come back to camp and eat
some delicious Texas barbeque, listen to a concert under the Texas night sky, and then listen to a jam session with some fantastic
musicians playing cowboy and folk music. Wow!”
So, here is an open invitation to come experience the rock art of Texas for yourself and let your own journey begin. Hope to see you there!
For more information, please visit: www.rockart.org
Meyers Springs Enduring Spirit

New Flute
I have to reset the towel bar
in the bathroom, behind the door.
It’s loose, and the task needs doing.
I would rather go play.
A new flute, bamboo, has just arrived
and I am cradling the anticipation:
The first moments of picking it up,
the communing of touch, mine to the bamboo,
the bamboo to mine,
that deep and complex scent of something
earth-bound and complemented by the maker’s art,
the mutual gift of the first breath-note.
But the task at hand.
I unscrew the bar bracket from the right side,
slide the metal tube out from both sides.
And there, on one end of the tube,
is a fold, a small bend
in the end, flat and even.
For a moment I wonder how it got there.
Then, an impulse.
I lean the tube against my lower lip.
There is a second of chill
and a quick smell-taste of metal.
I slide a breath over the bend and, inside,
the wave of air coils down
until the bar releases its secret tone.
And I stand there, in the bathroom, for a while,
in the grace of this voice, its first note,
its song.
~Tom Yates~
* * * * *
Tom Yates is a multi-instrumentalist from Iowa City, Iowa. He is
working on playing the Anasazi flute these days. His poems and
essays have appeared in publications from the University of Iowa
International Writers Workshop, the University of Northern Iowa,
and the Iowa Poetry Association.
Voice of the Wind Back Issues
The following volumes of Voice of the Wind are available for
purchase. Each issue is $2, which covers postage. Please make
funds payable to INAFA.
Volume 3, 1998 Volume 1, 2005 Volume 4, 2011
Volume 3, 1999 Volume 2, 2006
Volume 1, 2000 Volume 2, 2008
Volume 3, 2000 Volume 3, 2008
Volume 4, 2000 Volume 4, 2008
Volume 3, 2001 Volume 1, 2010
Volume 4, 2001 Volume 2, 2010
Volume 1, 2002 Volume 3, 2010
Volume 2, 2002 Volume 1, 2011
Volume 1, 2003 Volume 3, 2011
Welcome New INAFA Members
INAFA wishes to welcome its new members. Welcome to our flute
family!
New Memberships
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Pamela D. (Clermont, Florida)
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Charles S. (Bemidji, Minnesota)
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INAFA Membership Rates
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(Photocopy of full-time student ID required)
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Multiple-Year Renewal Option Now Available on the Form
Archive Donation
Thank you to Canyon Records for donating to the archives Coyote
Jump’s new CD, Waking From the Roots.
Monetary Donation
Thank you to INAFA member Dr. Melvin C. Rose for his
donation to the organization.

Flute Maker Identification Project
INAFA is engaged in a project that will catalogue flute makers’ personal mark or symbol, block designs, and sample flutes. This will
include information about the present flute makers and historical flutes that often lack an identifying maker’s mark or symbol. The data
will be catalogued and placed on the INAFA Web site as a database, so that people may consult it to discover the identity of, and
information about, the maker of his or her flute. INAFA calls upon all flute owners to participate in this project, as well as flute makers
themselves.
What We Need
All Submissions: A high resolution, close-up photo of the maker’s personal mark, signature, or symbol as it appears on the flute. If there
is no marking, please send the photo anyway. Someone may be able to identify the flute.
Flute Makers: If you are submitting information about your own flutes, please send a high resolution, close-up photo of your standard
block design and your personal logo, mark, or symbol as it appears on your flutes. Also include your company name, complete contact
information, and the date when you started your business.
Flute Owners: If you are submitting information about a flute you own, please send a high-resolution photo of the flute and also a
separate up-close photo of the block. Include any information that you know about the flute and the maker. Please indicate when you
acquired the flute, if known.
The best way to photograph these items is on a black background. Please do not photograph against a patterned background. Only
photograph the flute; please do not include people or objects in the photo.
Please send photos and information to: INAFA@AOL.COM
This is an ongoing project!
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(To save on printing costs, we will now include each quarter’s Kokopelli Bucks coupon within the pages of Voice of the Wind.)
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Combining the Native American Flute with Other Instruments in
Performance and Improvisation
Compiled by Dr. Kathleen Joyce-Grendahl
The following article is the result of a request from an INAFA member. He wanted an article detailing ways in which to combine the
Native American flute with other instruments in performance, as well as tips to aid in improvisation in the same context. I e-mailed a
variety of performers requesting that they share their expertise in this area. I posed two questions:
1. What strategies or suggestions can you offer with regard to playing the Native American flute with other instruments like guitar, piano,
other flutes, etc.?
2. What tips and advice can you offer with regard to improvising with other instruments like guitar, piano, other flutes, etc.?
Mark Holland: One of the best things I could suggest for playing with other instruments, in particular chordal instruments like the guitar,
piano, or harp, is to really learn the extended scale of the flute. Not only learn that scale on a cognitive level, but also make it an integral
part of your musical vocabulary. Also, develop an understanding of the relative major and relative minor scales. Being able to play in both
major and minor keys really expands the musical palette. I encourage folks in workshops to integrate the major mode into the minor mode
just by using one or two notes from the major. This will broaden melodic possibilities and make for more interesting musical lines. Also,
take into account the limited range of the Native American flute versus the other instruments with which you are working. Of course,
working with musicians who really know their instruments and how they operate is an additional plus, with regard to communication
and overall understanding that leads to goal achievement. To obtain this level, do it often, meaning repeatedly. Work with different
players, as well, if you can and you will discover how things will fall into place more easily with some more than others. The more
musical knowledge that you have at your fingertips, then the better it is for the communication between musicians. In addition, get to
know what the other instruments are capable of doing. I cannot think of any instrument with which the Native American flute is not able
to play.
As for improvising with other instruments, knowing the extended scale is super valuable, as well as realizing that your flute as an
extension of yourself. Again, being aware of the range of your flute and where you can go melodically is important, so your lines do not
take you to a place where you cannot continue or finish up. The more musical understanding that you have, the better. Although, with
improvisation, the ear is really the deal. To hear things, not only what you are playing but also what the other(s) are playing, is important.
You need to listen not only with the ear, but also from within, as well. This last concept is not easily learned or easily explained.
Also, do not forget space and silence. So many times players fill up the air with tons of notes. Work at trying to musically tell a story, too.
Obviously, when playing with a non-melodic percussion instrument you are freer, locking in mainly with rhythm and the overall feel of
the groove. As you integrate chordal instruments, you now have to take into account harmonization, meaning what notes will fit within
the chord structure framework to achieve the desired effect. Personally, improvisation is the most wonderful and freeing expression. I get
great joy in improvising, which is perhaps why the Native American flute resonated with me early on due to the idea of “playing from the
heart.” So, here again, do this often: improvise all by yourself, then improvise with a non-melodic percussion instrument, and then
improvise with a chordal instrument. You will notice both variances and similarities between the three experiences. Listen to all kinds of
music that incorporates improvisation. This includes different instruments, too, even voice. It is such a personal thing to let it flow. Also,
practice improvising in different meters and in different musical styles. Play along with CDs or find Music Minus One CDs. Although, it is
best to find the more personal performing element with another player.
Cornell Kinderknecht: One of the most enjoyable things for any musician is to play with other musicians. Besides being an opportunity to
share in a fun, creative activity, it is also a learning opportunity as you play off of, and assimilate, each other’s ideas. Here are some
practical issues that come up for me when playing with other musicians.
Keys: Other instruments like piano, guitar, or other "mainstream" instruments are capable of playing in all keys on a single instrument;
whereas, on our Native American flutes, a single flute may only play in a couple of keys. Choice of keys is a discussion that you will
probably have with the other musicians and you may need to find some common keys. When I am in a situation where I have been asked
to play on some particular songs on a show, I will try to find out in advance what keys the songs are in so that I can show up with flutes in
corresponding keys. In cases where I do not know the music in advance or it is a jam session or I am getting together with another
musician to "just play some music," I bring a wide range of flutes with me to cover many keys. When dealing with keys, you should have
as much knowledge as you can gain about the keys of your flutes. What keys work together? In what variety of keys, other than the
fundamental, can a single Native American flute play? By adding just a few extended-scale fingerings to your technique, you can cover
three or more keys on a single standard six-hole Native American flute.
Role Within the Ensemble: Am I the solo instrument? Am I accompanying another instrument that is the soloist? Am I trading the solo
line back and forth with another instrument? Being sensitive to your role will help guide you in how or what to play. As a soloist, you will
have some leeway to express variety in your playing within the scope of the musical style and what the accompanying instruments are
playing. If you are an accompanying instrument, spend much of your energy listening to the soloist, adding complimentary lines or sound
effects that help to support the soloist. If you are trading off the solo line with another instrument or voice, listen carefully and play off of
the other player's ideas when your turn comes. Remember to add lots of space to let the other player shine. These are much the same as
the techniques we learn when playing duets with other flute players.

Being Heard: Our Native American flutes have a small dynamic range, meaning limited in volume capabilities. The flute also has this
acoustic ability to "blend in" with other instruments. While the ability to blend makes for many possible combinations, our flute voice can
get lost in the sound of other instruments. Of course, amplification can help us in this regard, but, more importantly, there are some
techniques that can help us establish our place in the mix. One thing to keep in mind is how our instrument differs from the others in the
ensemble. For example, in an ensemble of drums, piano, guitar, and flute, except for the flute, all the other instruments are percussion
instruments. Once they strike or pluck a note, it sounds and then immediately begins to decay. On the flute, however, our note can remain
strong, sustained, and even possibly grow. Use that to your advantage. An extended flowing melodic line can provide a beautiful contrast
above the other instruments' quick rhythmic work. Another technique concerns the other instruments. That is, it helps the flute to be
heard when the other instruments are not playing in the same pitch range as the flute. This concept may take some cooperation with the
other musicians; however, most experienced musicians will instinctively know to do this in order to help clear the space for the soloist.
Playing With a Vocalist: This is one of my favorite activities. A vocalist is usually the soloist, and I am the accompaniment. The techniques
for me are similar to what I mentioned above in that I listen to the vocalist, get the feel for the melodic lines, and I provide accents, fills,
and sometimes harmonies to support the vocal line. I also take into account the lyrics being sung. I want to be sure that my flute additions
do not distract from the words. The message and emotion of the words can also give me ideas of how to play (e.g., delicate lines or
accented punctuation). A challenge is that the pitch range of the flute often overlaps with the vocal range of the singer. So, just like in the
"being heard" paragraph, we must be careful to leave "space" for the vocalist's melodies.
Playing With Another Flute or Similar Instrument: Much of what I mention about playing with a vocalist applies here. In addition to
usually having overlapping pitch ranges, the timbre of the two flutes will most likely be similar, leading to a blurring of the two
instruments. Again, the technique of leaving space for each of the instruments is key.
What tips and advice can you offer with regard to improvising with other instruments like guitar, piano, other flutes, etc.?
I think that much of the writing on the first questions applies here, as well. When I am improvising with other instruments, I come
prepared with many keys of flutes. I think that being a good listener is what makes someone a good player. Listening to the other
instruments for ideas and complementing them is paramount. Presuming that they are all listening and complementing, as well, makes
for everyone's best playing to come out. Something that I think is one of the most helpful tips for improvising with other instruments is to
be careful to not be too "notey." With our limited range of just an octave plus a couple notes, and subtract two pitches if we are pentatonic,
we can quickly be drawn into "playing the same thing over and over." Let the guitar, drums, bass, piano, and other instruments hold the
quick rhythmic background. Let the flute play some nice flowing lines over that, with some occasional quick-flying finger passages.
Know your instrument well. Find a mix of contrasting and complementing melodies to play with the other instruments. Listen! Hang back
and avoid the temptation to keep playing. If you find yourself sounding repetitive, take a break and come in with something different for
a while. Mostly, enjoy the opportunities to play with others, regardless of everyone’s playing level.
Ann Licater: In response to the first posed question, pitch is always important to consider when playing with others, so invest in a pocket
tuner or smartphone tuning application. I recommend choosing a flute that is in tune relative to itself, for starters. If you are playing with
a tempered instrument that cannot easily change its pitch, such as a piano, try to find a flute that is closest in pitch to match the piano's
vibration. Sometimes, only a few of the notes sound good, so try to stay away from the flutes that are not resonating well. If you are
working with a fretless stringed instrument, such as a cello or violin, those types of instruments can tune up or down to better match your
instrument. Be sure to bring many flutes and a tuner and always listen, listen, listen.
To answer the second question, again always listen. Find those nodes or points in the improvisation where you really connect and a
synergy happens. You can feel that perfect connection when it happens and it is just beautiful. Aside from listening to your fellow
performing artists, take risks, follow your intuition, and have fun! It is also important to take the time for the process to happen. True
listening is an engaged activity that can open a channel for something wonderful to happen.
Randy Granger: Playing the Native American flute with other instruments can add much to your music. A few basic points to consider
will help ensure that it is enjoyable. First, you need to make sure the key of your flute will work with whatever key the other instruments
are playing. There are online guides for that, unless you already know a little about music theory. Volume is critical, as well. I have heard
guitars or pianos drown out the flute completely. If you need to be amplified, do so and ask someone impartial to check the balance
between all of the instruments. Generally, nylon string guitars are quieter. You can ask the piano player to use the damper pedal. Having
played flute with the Hang, Halo, Moyo, and percussion, I find when I need to be louder I will play a higher ranged flute. Remember that
the piccolo is the first instrument that you hear after the drums in a marching band. When playing in drum circles, volume can be a
serious problem. Higher ranged flutes made out of hard wood, or “screamers” as we call them, do help; however, so does working with
more musical drummers.
Jamming with other flute players is very popular and can go well if you keep a few points in mind. First, it is not a competition and there
is no need to show off. Second, if you are in the key and range as the other flutes, listen to hear if they are playing mostly the lower or
upper notes and try playing the opposite. It is okay to just play a few sustained notes while the other person plays or play a rhythmic line
to support what they are playing. If you know about compatible keys, you can play harmony with another flute. Have fun and relax.
Anyone listening will feel that and enjoy it as well.
To answer the second question, the best analogy is a conversation with someone you really like. You listen to the other instruments and
contribute when it is your time to play. Was their playing peppy or mellow? Is there a theme or main melody line you can answer or add
to? Do not be afraid to take the lead if the other musicians nod at you. Stay within the mood of the song. Very importantly, do not step on
the other musician’s playing. Let them play their line, and then think how you can add to it or build on it without jumping in early before
their line is finished. When playing to an accompaniment like guitar or piano, listen for the chord changes as well as intensity. Like a good

conversation, a song has a beginning, a mood, space, and an arc where it gets animated before it winds down and finishes. Remembering
you are in a collaborative musical conversation will make it more enjoyable for all concerned.
Randy McGinnis: I have found that what works for me is playing with violins, cellos, and guitars. The stringed instrument has always
needed to tune to the flute. The flutes seem to drop a half-step when it is colder, particularly in outdoor venues. One main issue is the
stringed instruments can overpower the Native American flute in volume. Classical string players with whom I have played rarely use
amplification. When they are playing, they tend to keep getting closer and closer to the microphone. I believe that they see the flute player
right on top of the microphone, so they think that they need to be there as well. My way to overcome this is to place a taped (x) on the
floor where I want the performer to be placed and then set the microphone accordingly.
As far as improvising with other instruments, here is what has worked for me. You have to really listen to the other instruments. When
they are playing a solo run you need to be ready, and as they are getting to the end of that run I try to match a note they are ending on and
continue on with the melodic idea. This makes a seamless transition between the two phrases. Do not make it a race between you and the
musician with whom you are playing. The end result is not about who can play the most notes or play them the fastest. You are really
singing to each other. During these encounters with other instruments, it will present you with the opportunity to use the most magical
note in music and that is the sound of silence. The properly placed pauses can make a musical phrase turn magical!
To make all of this work together, you need to have signals prearranged. I use a step back away from the microphone when I want the
other player to do a solo run. I will have a water bottle by my flutes and will lay it on its side to signal the sound engineer to add in a lot of
delay to give the song an echo effect. I prearrange these signals during the sound check. Lastly, I will make eye contact with my fellow
musician to bring the song together for a smooth ending.
John Sarantos: When playing with other instruments, it is always easiest to use concert tuned flutes, meaning flutes that have been
precisely tuned to a standard pitch like A=440. If you do not have a precisely tuned flute, you will soon discover that it is very challenging
to harmonize and complement other instruments that are precisely tuned.
Many flute players are used to playing their flutes in a more casual manner, not really concerned about the actual note names that are
being sounded. When you play with other instruments, it is helpful and often necessary to know both the note names for your flute and
all the notes in the keys and/or chords in which the other instrumentalists are playing.
If you have not had training in music theory, one method you might consider is having one of the musicians figure out the notes that you
will need to play. For example, when I first started a recording project with an experienced guitarist, he told me what notes to use to
complement the four chords that he was playing. He recorded his part. Then, when I recorded my part, he indicated to me when the
chords were changing, so that I could use the notes he had suggested. Over time, I became more confident and experienced and could
recognize when the chords were changing and what notes to use.
In response to the second question, over the last 3 years I have had the pleasure of improvising with many different styles of music like
blues, jazz, hip-hop, and folk. I soon discovered that, for me, the best approach when someone else was leading was to start out just
making texture sounds, as opposed to playing standard notes. This gives me a chance to listen to the other musicians, as I slowly start
playing notes that sound good with the others.
When improvising with other instrumentalists, I find it helpful to know the framework in which to work. For example, what keys might
the improvisational group use and what notes make up those scales? However, key sometimes changes without warning or the leader of
the group might start playing any key; ultimately, it is up to you to figure it out. If you are not an experienced musician, this can be very
challenging.
The first time that I was on a program with violinist Rosi Hertlein, she called me on stage during her set and asked me to improvise with
her. I asked her what key flute I should use. She replied, “Key?” and then she promptly started playing. I soon discovered that it was easy
to know when I was harmonizing with her and even easier to know when I sounded like a cat screeching for its life. When the latter
happened, I would immediately start trilling bird sounds or making staccato ta-ta-ta sounds while I mentally regrouped. Using sound
textures is a great way to blend in, especially if you have a limited musical background.
Most of the time, I have found that the musicians are compassionate and, if you tell them what key flute you have, they will accommodate
you by playing in complementary keys for everyone involved. Most Native American flutes are in “minor” keys like G minor and F-sharp
minor. It is important for the other musicians to know that most Native American flutes have minor tendencies with regard to keys, if they
are helping you figure out how they can best complement you.
If you are a beginner in jam-session playing, I recommend that, when possible, you offer to lead the jam with the flute and let the others
start out following you. This will help you to get the feel of jamming and take the pressure off of not knowing what notes to use. In this
scenario, the others will adapt to you.
One of the most significant obstacles that I see in jam-session beginners is that they think they must be constantly playing the flute. Do not
forget that silence is a very powerful musical tool. Also, it is important in a jam to let others take the lead within a piece. I also look for
moments where I can have a two- or three-way conversation with my flute and the other instruments, a form referred to as call-andresponse.
Advice that I would give to help in performing with other musicians is to be careful with holding extremely long tones. You might start
out by holding a long tone and harmonizing perfectly with the sounds of the other instruments, but in your bliss of delight you might not
be aware that they have changed notes or chords and you now sound like those screeching cats again.

Peter Phippen: In reference to the first question, playing with other instruments means that you will have to play a flute that is concert
tuned (A=440), and have a very good command of breath control in order to sound "in tune" to "Western" ears. Another common problem
is often that the guitarist, pianist, or other instrumentalist will be playing in the same range as the flute. It is my opinion that the music
will sound better if the guitarist, pianist, etc., with whom you are playing sounds notes above and/or below the pitch range of the flute.
This will give you, the flute player, more freedom. Also, notes that may be ever so slightly out of tune, here and there, will not be as
noticeable.
Let us say that your guitarist, pianist, or other instrumentalist is playing in the same range as you are on the flute. Now you are forced to
play as close to tempered pitch as possible, so that it sounds in tune according to Western ears. What if the room in which you are playing
is cold? Then, your flute will be flat and you will have to push the flute sharp with your breath to bring it into pitch; as a result, any subtle
beauty in your flute timbre and playing will be gone. The same holds true for playing with other flutes. In short, the musicians with whom
you choose to play should have a good understanding of the flute and its capabilities, tendencies, and limitations. If they do not, you will
be sorry, no matter how "good" they are as musicians.
To answer the second question, when improvising with guitar, piano, other flutes, etc., if the guitarist, pianist, or other flutist(s) cannot
hear you, then they are too loud and they are not listening. Really listening to each other is what makes a good improvisation and it
applies to all who are playing. If you cannot hear everyone with whom you are playing, then you are too loud. Never try to impress with
your playing. If you do this, then you are not listening or following the flow of the improvisation. To me, an improvisation is a living
entity and must be treated with tenderness. Even if it has grown into a loud wailing beast, it is still alive and should be given respect.
Improvised music is a gift to all who are listening or playing.
Bobb Fantauzzo: In addition to performing regularly with my jazz combo, I also play in an Indie rock band, an improvisational orchestra,
and, on a number of occasions, have been called upon to perform with musicians with whom I had no previous interactions.
I have played Native American flute with guitar (acoustic, electric, and bass), all sorts of percussion, from hand drums to full drum kits,
piano, electric keyboard, harp, harpsichord, dulcimer, violin, viola, cello (acoustic and electric), double bass, clarinet, saxophone, trumpet,
oboe, French horn, bass clarinet, silver flute, harmonica, accordion, mandolin, banjo and, yes, even the Theremin. More appropriately
stated, I have performed with musicians who play these instruments. My personal opinion is that one should think in terms of playing
with other musicians, rather than instruments. After all, instruments do not make music, musicians do. It is my personal opinion that we
often put too much of an emphasis on the instrument that we play and not enough on the music we create with the instrument.
Creating music with others has much more to do with the relationships and interactions between the musicians than it does with what
instruments are being used. And, as with all relationships, the most important thing to do when playing music with others is to listen.
Listen to what the other musicians are doing. Listen to the collective sound that is being created. Listen to the music as a whole. Listen as if
you were the audience. Sit in the middle of the sound and listen. Listen as if the music depends upon it, for it does. Listen. And then,
respond appropriately.
Depending upon what you are currently contributing to the music, your “appropriate response” might be to play more, perhaps take over
playing the lead, or less by allowing someone else to take the lead while you play a supportive, accompanying role, or not at all by sitting
out and listening for the appropriate time to contribute to the sound again.
I have found that most of the difficulties encountered while playing with others simply vanish when all of the musicians listen more
closely to each other rather than to themselves, really focusing on what the music needs.
R. Carlos Nakai: With regard to the first question: Is the instrument arbitrarily tuned or made to the A=440 standard. Play the flute using
a tuner in order to find all of the possible finger positions. And, keep a record of this musical search. Next, find the range and organization
of naturally occurring pitches. Do the notes from top to bottom fall into a basic octave, a mode, or a minor scale? What are the usable
pitches within this range? Do NOT half-hole to get missing pitches. In addition, match the Native American flute to the well-tempered
instrument. Do NOT ask the other performer to match your out-of-tune flute. Again, make sure that you have a well-tuned A=440 flute,
meaning a well crafted, concert tuned flute. Breath control is quite important, as well.
To address the second question: Make sure that you know the relative tuning of your flute and that the musical phrases are well within
the playable range. Always remember the starting phrase and variations thereafter. Make room for the other instruments to solo or make
additional variations, etcetera. Also, listen to your accompanists and exercise good breath control in order to maintain proper intonation.
Do NOT use effects to cover up or disguise inconsistencies. And, do NOT play endlessly as that is boring for your audience. Finally,
always be prepared to vocalize or add other techniques to your performance. Repeat your mistakes as variations to your phrasing.
Jan Seiden: Many problems occur when people are too focused on the way that they have always done things and what they think is
right. A crucial approach for a balanced, good-sounding ensemble is to go outside our own boxes and allow the instruments to work
together. Remember, you are not just playing with other instruments; you are playing with other people expressing their musicality
through other types of instruments. Listen to what is going on around you. Focus on the overall music that you are co-creating. Share the
spotlight in the piece.
A common rut is repeatedly playing in our same style, but playing it along with other instruments. This can sound nice, perhaps with the
flute floating above a rich bed of sound, and it is a valid starting point. However, there is great reward in discovering something entirely
new, finding ourselves playing something innovative and creative, the result of fresh thinking that would never have occurred had we
complacently stayed in our comfort zones and familiar ways of thinking.

Listen to other styles of music – classic rock, blues, jazz, classical, and other global musics. Practice playing along with CDs and bring
some of those ideas to your ensemble.
The timbre, or voicing, of the other instruments offers ideas on how the Native American flute can complement those instruments. Be
sensitive to the unique voices and feel of other kinds of instruments. Complement them in pitch, octave, and texture, meaning the voicing
of your flute – cutting through a deep drum sound, rising above guitar chords, or providing a bass feel to complement other flutes or a
violin.
Use well-tuned flutes, or learn how to play out-of-tune flutes in tune! “Grandfather tuned” flutes and old-style tunings can work well with
percussion. Standard-tuned Western instruments like piano, sax, and silver flute are not so flexible. The result can be some painful
dissonance. Guitar, violin, and cello can bend to accommodate some out-of-tune notes from a Native American flute, but only so much
before the overall sound is compromised. Co-musicians are not supposed to be acrobats or contortionists when it comes to tuning issues.
With regard to the second question, my suggestion is to listen, listen, listen! It can be tempting and fun to jump right into playing once
other musicians get into the groove. There is nothing unprofessional about letting others play a bit while you get a feel for what they are
doing and what their groove may be offering to your flutes. Your co-musicians will probably appreciate and respect you more when you
take the time to really listen and understand what they are doing. The music will always be better for it.
Listen to what the other instruments are saying, and work with that. Feel the flow of the evolving piece and honor that mood. Often, less
is more. Endings can come as a surprise, or not at all, for a player who has slipped back into their own zone. Improvisation is a dynamic
conversation among musicians and has a life of its own.
Listen, again – where is the balance among the instruments? Where is the song going, and which instrument is naturally moving into the
lead position? The flute is traditionally thought of as a lead or solo instrument, but it is also evocative as an effect, decorating around
another instrument’s solo or simply being silent while other pitches and sounds are prominent. Again, listen – for the silences. Music
needs to breathe. Unless your co-musicians have agreed to be your back-up band, improvising is about co-creating and weaving. Take
turns. Listen.
Try taking a melody that you like and adapting it to a different rhythmic structure or even a different mode. If you typically place the
melody in a pentatonic minor mode, try it in the diatonic or perhaps a Middle Eastern minor. If you typically play slow, elegant notes, try
adapting it to that fun rhythm the percussionist has drummed up.
Communicate with others in your ensemble about the abilities and limitations of your flutes. If your co-musicians are not familiar with the
quirks and range of the Native American flute, simply explain what you can do and what you cannot. Folks who play multi-octave, fully
chromatic instruments (piano, guitar, etc.) may not have an understanding of the Native American flute. Also, it can help to talk about
keys, and whether or not you are comfortable changing modes on your flute during a given song.
Your audiences listen to your music – so listen to your co-musicians to create the best possible music!
Ron Warren: One of the truly great joys for me in my journey with the flute has been the opportunity to create new music with gifted
musicians from many different traditions. It would be possible to fill many pages with specific technical pointers that I have learned from
these experiences, but this is not the place to do that. What I would like to do here is offer a few thoughts on perspectives towards music
making that begin to make such adventures possible. I will also suggest an exercise or two that you can try with your flute circle friends.
My experience is that meaningful music making happens when musicians have a dialogue with one another. It is impossible to have a
meaningful dialogue with someone if you are so deeply involved in doing your own thing that you never listen to others, or if you do not
understand what is being musically stated.
One of my highest priorities for playing well with others is: listen, listen, listen. Listen more than you play and listen deeply. I have heard
so many “jams” at local flute circles over the years that amount to little more than people all wailing away on what could fairly be
described as basic scale clichés, without any reference to anything that is going on around them. It may be enjoyable for the players, but it
quickly becomes tedious to the listener.
The next time that you are at flute circle, find a friend with a flute in the same key and, rather than noodling around for 20 minutes, play
“follow the leader.” This is a co-operative, non-competitive game. Stand back to back. Stay in the basic scale at first. The leader will play
simple two- or three-note patterns. The follower will try to repeat them back exactly. If the follower does not get it the first time, the leader
can repeat the patterns. After a few misses, go ahead and show them the pattern, as we do not want generate frustration. Switch roles
from time to time.
That might be enough for the first game. When both players can repeat back two- and three-note patterns easily, start lengthening the
patterns. Try adding bends, slides, barks, and other embellishments. Begin using specific rhythm patterns, as well. Eventually, start
adding “outside” notes, meaning notes that are not in the basic scale. Expect that it will take several flute circle gatherings, maybe many,
depending on your experience level. And, that is fine. There is no hurry. Eventually, your ear will begin to recognize when the leader goes
from basic scale pitch 3, to pitch 5, to pitch 2. And, your fingers will remember how to play it back.
To take this game to the next level, the leader plays an entire phrase and the follower repeats it exactly. Then, the follower becomes the
leader by repeating the phrase with one small change. The partner, now the follower, repeats the newly varied phrase exactly and
becomes the leader again by playing the phrase again with one small change. Repeat the process for as long as desired. In effect, you are
beginning to evolve a tight but varied melody together. You are beginning to hear and interact like a musician. Gradually apply these
skills to your jam sessions.

High priority number two: Explore the full musical capabilities of your flutes. There are still many good tunes to be made using the basic
scale, but the flute has other resources, as well. Does it take extra effort to make good use of those resources? Yes, it does. But, not that
much more, and every small step you take in that direction will give your music making more depth and a greater range of expression.
Yes, it is true that the basic scale will “fit in” at some level with many different styles of music. But, as you mature as a musician, you will
want to be able to offer more to your colleagues than the pale color of basic scale stock phrases. Music is an adventure. Do not settle for the
obvious. An extra bit of advice: The upper register is really important. Get it under control and know what each of your flutes can produce
in that range.
High priority number three: Get comfortable playing in time with a beat. There are numerous recordings available now for practicing this,
but the best way is to find a drummer or guitar player at your local flute circle meeting who can lay down a good groove and see if you
can ride it with them. There are few better feelings available than riding a great groove with other people. Also, the majority of the world’s
music has a regular beat structure of some kind, even if it is not obvious on first hearing. If you want to play with musicians from other
traditions, get ready to groove.
High priority number four: Adapt and adopt. This honors the indigenous roots of your instrument. Historically, when Native American
people see something new that works, they adopt it, learn how to use it, and adapt it for their own purposes. Some of the techniques I use
on the flute I have learned from flute players in other traditions and adapted them to my own purposes. To put it bluntly, musicians beg,
borrow, and steal from each other all the time. Go for it.
I have argued for a long time that our flute is as versatile as any other instrument on the planet. I have not seen or experienced anything
along the way that makes me back down from that belief. If, in addition to traditional style playing at powwows, I can play bluesy rock
with my band Aura Surey, play my own and other people’s music with a classical orchestra, do free improvisation with an Avant-Garde
German bass flutist and Chinese yangqin player (at the same time no less), jam with an Irish flutist, accompany a traditional Korean
singer, get along with Highland Bagpipes, and not just go along for the ride but actually contribute to the musical conversation, it is only
because the flute allows me to do that. Indeed, it shows me how to do that. But, I have to be open to its teaching and to all the beautiful
things that it can do.
Quarterly Flute Raffle
INAFA member and flute maker Jim Gilliland has graciously donated this quarter’s raffle flute. It is a six-hole black bamboo Native
American flute. It is in the key of F-sharp. Peter Phippen says this about Jim’s flutes: “His flutes sound old-school, but in-tune for Western
ears. They sound amazing! For cane and bamboo Native American flutes, Jim Gilliland is, in my opinion, the best maker out there.”
Visit Jim Gilliland on the Internet:
Jim Gilliland Flutes
Native American River Cane, Bamboo, and Wooden Flutes
214 Skyline Road
Madison, AL 35758
Phone: 256-829-2328
E-mail: jgflutes@AOL.COM
www.jimgillilandflutes.com
See more pictures on the INAFA Web site: www.inafa.org
Raffle tickets are $5 each and you may purchase as many as
desired. This raffle will last until August 15, 2012. Please send
raffle funds made payable to:
INAFA Raffle
3351 Mintonville Point Drive
Suffolk, VA 23435
Last Quarter’s Flute Raffle
Ted Ceplina graciously donated last quarter’s raffle flute. The flute is a replica of a Richard Fool Bull flute. It is crafted out western red
cedar and painted using earth pigments paints. The flute plays approximately in G-sharp, with a five-hole pentatonic minor scale.
Visit Ted Ceplina on the Internet: www.theodoreceplina.com
Phone: 1-715-252-4578; E-mail: info@theodoreceplina.com
Raffle Winner: Joy Cook

Hawk LittleJohn Memorial Scholarship
With the assistance of Richard Dubé of Northern Spirit Flutes, INAFA is creating a scholarship in the name of Hawk LittleJohn (1941-
2000), a profound Cherokee flute maker, scholar in Native American medicines and traditions, environmentalist, educator, and a cultural
consultant to the Smithsonian Institute and the North Carolina Museum of History.
Richard Dubé has reworked and remastered the SongKeepers DVD that features Hawk LittleJohn, Kevin Locke, R. Carlos Nakai, Tom
Mauchahty-Ware, Dr. Richard W. Payne, and Sonny Nevaquaya. Richard is offering the DVD through his Web site. SongKeepers 2010
includes the original SongKeepers movie from 1999 plus eight teacher-edits (all videos under 10 minutes in length) put together for use by
educators.
For each SongKeepers purchase from the Northern Spirit Flutes Web site, Richard will donate 10 percent of the proceeds to INAFA’s Hawk
LittleJohn Memorial Scholarship. The monies generated will be used to support Hawk's vision of sharing the beauty of the Native
American flute with the rest of the world, so that people can gain an appreciation and an understanding of First Nations people and their
culture(s). Richard has started the scholarship fund with a personal donation of $100.
Independent donations are also welcome and can be made out to: INAFA, 3351 Mintonville Point Drive, Suffolk, VA 23435 or via Paypal
to account: INAFA@AOL.COM Please specify in your donation that it is for the Hawk LittleJohn Memorial Scholarship.
To purchase the SongKeepers DVD with 10 percent of the proceeds benefiting the Hawk LittleJohn Memorial Scholarship, please visit:
www.northernspiritflutes.net
General Reference: R. Carlos Nakai TABlature System (Primary Scale)
* = There are several ways to play the octave on a Native American flute. It depends upon the flute maker’s construction technique. He or
she will usually include a finger chart with the instrument to clarify.
Extended Scale

Mark Holland’s Instruments of Peace:
A CD Review
by Dr. Kathleen Joyce-Grendahl
This is the Mark Holland sound that brings forth the luminosity and tenderness
from within the soul of the listener. This musical offering is expressive and
introspective. Instruments of Peace embodies the characteristics of New Age music,
but with a contemporary global perspective. It is an enchanting musical story; it is a
day filled with sunshine and laughter. The musicians on this CD are truly gifted
individually, but they are sublime as an ensemble. The creative force on Instruments
of Peace is: Mark Holland, Native American flutes; Cory Edwards, piano and guitar;
Jim Feist, tabla; Jay Hungerford, upright bass and fretless bass; Valentina Takova,
cello; and Tracy Andreotti, cello. Their collective sound and musical mastery is
exceptional. There are 12 songs on Instruments of Peace, each special in its own way.
As “Colours of My Dreams” begins, the grace and delicacy of the music brings light into the darkness, breathes life into the weary heart,
and imbues the soul with butterfly wings of comfort. Here, the flute, piano, and tabla successfully create a refined and accomplished
resonance, with all three working together to generate a substantial musical oeuvre.
This selection’s musical form is created via the range of flutes that Mark employs throughout. The piano and tabla offer a dulcet prelude,
establishing the character of “Colours of My Dreams.” Using a low-range Native American flute, Mark enters with a soulful,
contemplative melody that exudes peace and placidity. The middle section of this ternary form features Mark playing a mid-range flute,
offering up for all to hear a mellifluous, soulful melody complete with tasteful embellishments. Here, the pianist renders a spinning,
ostinato-like accompaniment full of lush harmonic and dynamic shadings, while the tabla puts forth a solid but delicate groove that deftly
weaves in and out of the flute and piano lines. A piano solo interlude serves as a bridge into the final section of this ternary form. Mark
returns to playing the low-range flute and the initial soulful melody. “Colours of My Dreams” concludes with a tabla solo full of timbral
iridescence and imaginative rhythmic inflections.
“In Touch With Silence” gently gave to me a sense of tranquility and serenity. The piano and flute interplay on this song is ambrosial.
Mark is a master of the prolonged, resplendent melodic line, melodies that one wishes would simply continue on forever because of their
beauty and charm. Here, the flute melody tenderly grasps the listener by the heart and hand, leading the music devotee on a melodious
odyssey to a realm full of quietude and repose. On this selection, the pianist is adroit at effectuating florid timbral color and shading,
tension and release, and motion and breath. “In Touch With Silence” truly brought me down to a place of significant introspection and
peace.
“Return to Simplicity” combines the musical offerings of Native American flute, guitar, piano, and cello. This song form and its
instrumental utilization and combination remind me of Dan Fogelberg, an icon in the acoustic-based singer-songwriter-folk genre.
Perhaps it is due to the presence of the guitar and the manner in which it is being played, in conjunction with the presence of the cello.
But, most of all, “Return to Simplicity” is unquestionably a “song without words”; but, the listener can readily hear and take to heart the
story in the shadings and passionate melodies weaving a web of spiritual warmth and love. There should be words, but, then again, there
should not be words, since music should express the story of whoever’s heart-story needs expressing, whether inward or outward. The
use of the cello on this song adds an engaging dimension to the musical narrative. It provides in-depth, passionate countermelodies to the
piano, supporting the melody and adding further ambiance to the alluded-to musical storyline. The cello is the instrument that is closest
in timbre and range to the male human voice. It enhances the graceful ambiance of “Return to Simplicity.”
“And when they came to Marah, they could not drink of the waters of Marah, for they were bitter: therefore the name of it was called
Marah” (King James Bible). According to the Jamieson-Fausset-Brown Bible commentary, “Marah is almost universally believed to be what
is now called Howarah, in Wady Amarah, about 30 miles from the place where the Israelites landed on the eastern shore of the Red Sea, a
distance quite sufficient for their march of 3 days. There is no other perennial spring in the intermediate space. The water still retains its
ancient character and has a bad name among the Arabs, who seldom allow their camels to partake of it.” “Tree by the Waters of Marah” is
certainly the most melodically unique song on this CD, with Mark playing an E magen avot flute made by Russ Venable. The melodies are
Middle Eastern in character, suffusing the song with an exotic flavor. This song is alluring and intriguing. The pianist begins the selection
with a small solo, quickly joined by the flute melody that foreshadows the upcoming foray into an exotic musical revelry. When the song
proper commences, it is charismatic and vivid. Mark motivically enhances the song’s Middle Eastern aura at the apex and endings of
musical phrases, by employing riffs and splashes of melodic movement typically heard in Middle Eastern music. “Tree by the Waters of
Marah” concludes with a cello solo that is striking in its simplicity and range.
Mark Holland has created many CDs, both alone and with his ensemble Autumn’s Child, and each recording has its own identity and
spirit. As Mark started on his musical journey, I was there listening. And, I am still listening. Mark has offered diversity with his flute
playing, diverging from the expected paths of Native American flute music. He is a gifted musician, skillful in melodic creation, ensemble
diversity, musical phrasing, and his employment of embellishments that add to the character of the music instead of being gratuitous in
nature. Mark’s embellishment utilization is often typical of normal vocal inflections when singing, naturally and instinctively enhancing
the melody line. In general, I do not do many CD reviews, as time constraints often keep me from such endeavors. But, I enjoy Mark’s
music and he consistently has something new and innovative to express. New is sometimes difficult to come by in the Native American
flute world. So, when it arrives in a package all wrapped up by Mark Holland, I give it a listen and start typing away. I have to say that
Instruments of Peace is one of my favorite Mark Holland CDs. This CD possesses an ethereal magic and a wholesome joy. It is definitely on
the top of my CD stack. Do not miss this CD!
To learn more about Mark Holland and his music, please visit: www.autumnschild.com

INAFA Member
or
INAFA Flute Circle
Using the INAFA Logo
One of the benefits of membership in the International Native American Flute Association (INAFA) is
the privilege to use the organization’s logo to demonstrate your support of, and membership in, the
INAFA. The following are guidelines for the INAFA logo’s appropriate utilization.
Only members in good standing may use the INAFA logo on their Web sites, with a reciprocating link
back to www.inafa.org The INAFA logo may not be used on any type of personal or business
letterhead or business card. No merchandise may be created using the INAFA logo. The logo may not
appear on any type of Internet chat group or forum or any Web site that has any type of discussion
forum. Only INAFA flute circles may have the logo on their organizational Web site; other flute circles
not associated with INAFA may not use the INAFA logo. Vendors and retailers may have an 8’’ by 8’’
sign in their festival booths showing the INAFA logo and membership indication. Before placing the
INAFA logo on your Web site, you must first seek permission from the organization's executive
director.
When the INAFA logo is used on your Web site, it must be accompanied by your business logo and your logo must be substantially larger
and more prominent than the INAFA logo. Only the logo provided in the format below is authorized for membership utilization. The
INAFA logo must be used exactly as it appears below, with the words "INAFA Member" appearing in the logo. No use of the member
logo, except as expressly provided above, is permitted. The INAFA reserves the right to revoke privilege to use its member logo in the
event that these guidelines are not observed, or if the logo adversely impacts the goodwill represented by the INAFA member logo. Your
cooperation is greatly appreciated.
Please address all questions and inquiries to the executive director at: INAFA @AOL.COM
INAFA Merchandise
The following INAFA items are available for purchase, with all proceeds benefiting the organization.
INAFA Songbook, Volume 1: $15 (book)
Hymns for the Native American Flute: $19.95 (book)
Ash Gray T-shirt (M,LG): $17
Steel Key Chain: $7
Static Sticker (red): $1.55
Stainless Steel Travel Mug: $12.50
Woodnotes Wyld CD: $15
Clear Water Reflections CD: $20
Preserving the Heritage … Insights and Songs from Kevin Locke CD: $15
Shipping is free for all INAFA merchandise.
With the exception of the travel mug, all items may be viewed on the INAFA Web site: www.inafa.org
Please send inquiries and orders to:
INAFA, 3351 Mintonville Point Drive, Suffolk, VA 23435 Fax: 757-538-2937; E-mail: INAFA@AOL.COM

Alaska
Alaska Flute Circle
Contact Person: Deborah Peterson
9641 Arlene Street, Anchorage, AK 99502
Phone: 907-243-0046; E-mail: Chadassah@AOL.COM
Representative to INAFA: Deborah Peterson
Arizona
Arizona Flute Circle
Contact Person: George Irons
16819 Lunar Lane, Fountain Hills, AZ 85268
Phone: 480-837-8817; E-mail: irons.george@q.com
Representative to INAFA: George Irons
Tucson Native American Flute Circle
Contact Person: Sarah Vetault
Tucson, AZ 85735
Phone: 520-909-2254; E-mail: TNAFC1@gmail.com
Representative to INAFA: Sarah Vetault
Central Arizona Flute Circle
Contact Person: Wayne Grossman
2365 South Dunham Road, Cottonwood, AZ 86326
Phone: 928-202-7259; E-mail: az2ak2003@yahoo.com
Representative to INAFA: Wayne Grossman
Desert Whispers Flute Circle of Tucson
Contact Person: Kathryn Twinfeathers
Lotus Massage and Wellness Center
2850 East Grant Road, Tucson, AZ 85716
Phone: 520-784-4468; E-mail: ktwinfeathers@yahoo.com
Representative to INAFA: Kathryn Twinfeathers
Quartzsite Flute Circle
Contact Person: Mark Church
P.O. Box 3955, Quartzsite, AZ 85359
Phone: 760-220-0013; E-mail: qfc@quailspirit.com
Representative to INAFA: Mark Church
Payson/Rim Flute Circle
Contact Person: Bette Acker
Payson, AZ 85541
Phone: 602-625-1696; E-mail: Bette@azacker.com
Representative to INAFA: Bette Acker
CherryCows Flute Circle
Contact Person: Keith Stanford
4505 West Mesquital Del Oro, Tucson, AZ 85742
Phone: 520-591-7418; E-mail: eenncar@AOL.COM
Representative to INAFA: Keith Stanford
Arkansas
Bentonville Flute Circle
Contact Person: Scott Brown
202 SW “O” Street, Bentonville, AR, 72712
Phone: 479-586-8302
E-mail: bentonville.flute.circle@gmail.com
http://www.bnaflutecircle.net
Representative to INAFA: Scott Brown
California
Southern California Flute Circle
Contact Person: Guillermo Martinez
28691 Modjeska Canyon Road, Modjeska Canyon, CA 92676
Phone: 714-649-3244 ; E-mail: Quetflutes@earthlink.net
Representative to INAFA: Guillermo Martinez
Yosemite Flute Circle
Contact Person: Rick Dunlap
47786 Road 620, Oakhurst, CA 93644
Phone: 559-641-5980; E-mail: yosemiteflutecircle@gmail.com
Representative to INAFA: Rick Dunlap
Flute Circle Directory
The San Diego County Flute Circle
Contact Person: Benny Mullinax
P.O. Box 222, Potrero, CA 91963
Phone: 619-478-9561; E-mail: benny1012@yahoo.com
Representative to INAFA: Benny Mullinax
Coachella Valley Flute Circle
Contact Person: Diane “Annie” Mathias
76-629 Florida Avenue, Palm Desert, CA 92211
Phone: 760-345-1713; E-mail: cvflutecircle@gmail.com
Representative to INAFA: Diane “Annie” Mathias
Mountainside Flute Circle
Contact Person: John Ryan
4060 Berry Road, Cameron Park, CA 95682
Phone: 530-676-2826; E-mail: xemeritus@hotmail.com
Representative to INAFA: John Ryan
Inland Empire Flute Circle
Contact Person: Charles Flanagan
38766 Brookside Avenue
Cherry Valley, CA 92223
Phone 951-769-0989; E-mail: chuckflanagan@verizon.net
Representative to INAFA: Charles Flanagan
Central Coast Flute Circle, San Luis Obispo
Contact Person: Alice Reinheimer
580 Gularte Road, Arroyo Grande, CA 93420
Phone: 805-489-2930; E-mail: alicer1@charter.net
http://www.centralcoastflutecircle.org
Representative to INAFA: Robley Morgan
Central Coast Flute Circle, Santa Barbara
Contact Person: Alfred King
1305 North H Street, PMB 289, Lompoc, CA 93436
Phone: 805-736-0449; E-mail: alfredking@earthlink.net
http://www.centralcoastflutecircle.org
Representative to INAFA: Alfred King
Colorado
Pikes Peak Flute Circle
Contact Person: Dave Sproul
810 Big Valley Drive, Colorado Springs, CO 80919
Phone: 719-591-2922; E-mail: sproulcd@comcast.net
Representative to INAFA: Dave Sproul
Denver Foothills Flute Circle
Contact Person: John Kulias
14173 West Alaska Drive, Lakewood, CO 80228
Phone: 303-989-9834; E-mail: john@meadowlarkflutes.com
Representative to INAFA: John Kulias
The Grand Valley Flute Circle
Contact Person: Larry Eggers
203 Limestone Circle, Grand Junction, CO 81503
Phone: 970-216-3330; E-mail: larry_eggers@q.com
Representative to INAFA: Larry Eggers
Northern Colorado Flute Circle
Contact Person: Peggy Roberts
2839 Brush Creek Drive, Fort Collins, CO 80528
Phone: 970-210-2181; E-mail: Peggy.Roberts@aecom.com
Representative to INAFA: Peggy Roberts
Southwestern Colorado Flute Circle
Contact Person: Michael Kunz
P.O. Box 1495, Durango, CO 81302
Phone: 970-903-8780; E-mail: mdkflutes@yahoo.com
Representative to INAFA: Michael Kunz

Delaware
Whispering Woods Flute Circle
Contact Person: C. Karen Covey Moore
Aldersgate United Methodist Church
2313 Concord Pike, Wilmington, DE 19803
Phone: 302-650-0790; E-mail: chabereth@verizon.net
Web site: www.whisperingwoodsnativeamericanflutecircle.com
Representative to INAFA: C. Karen Covey Moore
Florida
Emerald Coast Flute Circle
Contact Person: Dr. Michael DeMaria
512 East Zaragoza Street, Pensacola, FL 32501
Phone: 850-438-0320; E-mail: mdemaria@ontos.org
Representative to INAFA: Dr. Michael DeMaria
Central Florida Flute Circle
Contact Person: Dock Green
4850 Knights Loop, Plant City, FL 33565
Phone: 813-754-8990; E-mail: slvhawk@AOL.COM
http://groups.yahoo.com/group/centralfloridaflutecircle1
Representative to INAFA: Dock Green
Woodland Echoes Flute Circle
Contact Person: Daniel Arrington
4530 NW 37th Terrace, Gainesville, FL 32605
Phone: 352-373-8841; E-mail: dan@nlss-flutes.com
Representative to INAFA: Daniel Arrington
Cotee River Flute Circle
Contact Person: Richard Harrison
11616 Leda Lane, New Port Richey, FL 34654
Phone: 727-460-5651; E-mail: rick@coteeriverflutecircle.com
http://www.coteeriverflutecircle.com
Representative to INAFA: Richard Harrison
Riverwind Flute Circle
Contact Person: Dave McCullen
34625 CR 468, Fruitland Park, FL 34731
Phone: 352-315-4015; E-mail: waryr@AOL.COM
Representative to INAFA: Dave McCullen
Georgia
Georgia Flute Circle
Contact Person: Cecelia Turbyville
3050 Margaret Mitchell Drive, #5, Atlanta, GA 30327
Phone: 678-427-8863; E-mail: cecelia@mindspring.com
Representative to INAFA: Cecelia Turbyville
Heron House Flute Circle/ Healing Waters
Contact Person: Cecelia Turbyville
3050 Margaret Mitchell Drive, #5, Atlanta, GA 30327
Phone: 678-427-8863; E-mail: cecelia@mindspring.com
Representative to INAFA: Cecelia Turbyville
Illinois
Senachwine Flute Circle
Contact Person: Nancy Gillfillan
5820 North 300th Avenue, Putnam, IL 61560
Phone: 815-303-1034; E-mail: ngillfil@gmail.com
http://www.senachwineflutecircle.org
Representative to INAFA: Nancy Gillfillan
Chicago Native Flutes Circle
Contact Person: Diane Willis
2226 Wilmette Avenue, Wilmette, IL 60091
Phone: 847-251-7270; E-mail: DocFlute@AOL.COM
Representative to INAFA: Diane Willis
Healing Earth Resources Native American Flute Circle
Contact Person: Rob Miller
8 Norbert Drive, Hawthorn Woods, IL 60047
Phone: 847-341-5101; E-mail: ishkaynay@gmail.com
Representative to INAFA: Rob Miller
Sangamon Valley Flute Circle
Contact Person: Mike Haynes
745 Woodside Road, Springfield, IL 62711
E-mail: sangamonvalleyflutecircle@gmail.com
Representative to INAFA: Mike Haynes
River Spirit Flute Circle
Contact Person: Randy Starnes
506 South Railroad, Sparland, IL 61565
Phone: 309-657-5544; E-mail: tbflutes2@yahoo.com
Representative to INAFA: Randy Starnes
Living Waters Flute Circle
Contact Persons: Marguerite Hernandey
1125 Saylor, Downers Grove, IL 60516
Phone: 630-241-2026; E-mail: pegordave@sbcglobal.net
http://www.livingwaterflutecircle.com
Representatives to INAFA: Marguerite Hernandey
Woodland Spirit Flute Circle
Contact Person: Glen Mensinger
606 Woodland Drive, Crystal Lake, IL 60014
Phone: 815-455-5256; E-mail: gmandebee@gmail.com
Representative to INAFA: Glen Mensinger
Iowa
Fairfield Flute Circle
Contact Person: Barry Ross
2055 185th Street, Fairfield, IA 52556
Phone: 641-469-6194; E-mail: barryross@lisco.com
Representative to INAFA: Barry Ross
Two Rivers Flute Circle
Contact Person: Jeanne Lyle
5870 Fairway Court, West Des Moines, IA 50266
Phone: 515-225-6139; E-mail: jeanlyle@mchsi.com
Representative to INAFA: Jeanne Lyle
Kansas
Prairie Wind Flute Circle
Contact: Barbara Book
3118 SW Tutbury Town Road, Topeka, KS 66614
Phone: 785-478-1960; E-mail: naflutegirl@yahoo.com
Representative to INAFA: Barbara Book
Louisiana
Red River Flute Circle
Contact Person: Rick Carlisle
3621 Madison Park Blvd., Shreveport, LA 71104
Phone: 318-865-9743; E-mail: r2wellhead@gmail.com
Representative to INAFA: Rick Carlisle
Cedar Branch Bayou Flute and Drum Circle
Contact Person: Stan Thomas
31575 Pete Bankston Road, Holden, LA 70744
Phone: 225-936-0773; E-mail: charlesstan6@gmail.com
Representative to INAFA: Stan Thomas
Maine
Spirit Raven Flute Circle
Contact Person: Barbara Fischer Eldred
East Boothbay, ME 04544
Phone: 207-319-5808
E-mail: bkeldred@roadrunner.com
Representative to INAFA: Barbara Fischer Eldred
Maryland
Maryland Flute Circle
Contact Person: Robert Willasch
P.O. Box 4251, Timonium, MD 21094-4251
Phone: 410-252-0368; E-mail: BobF64@AOL.COM
Representative to INAFA: Robert Willasch
Potomac Flute Circle
Contact Person: Sharon Ellis
5919 Kingsford Road, Springfield, VA 22152
Phone: 703-866-0114; E-mail: PotomacFluteCircle@hotmail.com
http://www.potomacflutefestival.org
Representative to INAFA: Sharon Ellis
Chesapeake Shore Flute Circle
Contact Person: Mark Clayton
103 Indian Plantation Drive, Stevensville, MD 21666
Phone: 410-310-7845; E-mail: mclayton@atlanticbb.net
Representative to INAFA: Mark Clayton

Windsongs Native American Flute Circle
Contact Person: Roger R. Bennett
2912 Goat Hill Road, Bel Air, MD 21015
Phone: 410-322-8933; E-mail: rbennett3@comcast.net
http://home.comcast.net/~wnafc
Representative to INAFA: Roger R. Bennett
Massachusetts
Flutes of Noepe Circle
Contact Person: Ronn Speed
P.O. Box 2348, Vineyard Haven, MA 02568
Phone: 508-696-3067; E-mail: ronaldspeed@gmail.com
Representative to INAFA: Ronn Speed
Michigan
Chippewa Valley Flute Circle
Contact Person: Donna Murphy
393 Star Road, Sanford, MI 48657
E-mail: jimurph@chartermi.net
http://www.flutecircle.org
Representative to INAFA: Donna Murphy
Paint Creek Flute Circle
Contact Person: Donald Hays
639 Alpine Court, Rochester Hills, MI 48309
Phone: 248-375-9448; E-mail: dfhays@AOL.COM
Representative to INAFA: Donald Hays
Gitchee Gumee Flute Circle
Contact Person: Dr. Elda Tate
814 West College Avenue, Marquette, MI 49855
Phone: 906-226-3124; E-mail: etate@nmu.edu
Representative to INAFA: Dr. Elda Tate
Mitigwake Giiwitaashkaa (“Forest Circle”)
Contact Person: John Sarantos
P.O. Box 2824, Midland, MI 48641
E-mail: jkokopelli@earthlink.net
Representative to INAFA: John Sarantos
Minnesota
Ten Thousand Lakes Flute Circle
Contact Person: Bobb Fantauzzo
5501 Harriet Avenue South, Minneapolis, MN 55419
Phone: 612-823-5443; E-mail: music @bobbfantauzzo.com
Representative to INAFA: Bobb Fantauzzo
Missouri
St. Louis Flute Circle
Contact Person: Mark Holland
P.O. Box 19735, St. Louis, MO 63144
E-mail: autumnschild@sbcglobal.net
http://www.cedarnsagemusic.com
Representative to INAFA: Mark Holland
Montana
Big Sky Flute Circle
Contact: Deb Brown
P.O. Box 69, Geraldine, MT 59446
Phone: 406-737-4263
Representative to INAFA: Deb Brown
Northern Winds Flute Circle
Contact Person: Dave Rusling
8441 Overlook Lane, Bozeman, MT 59715
Phone: 406-599-8543; E-mail: lightspace@bridgeband.com
Representative to INAFA: Dave Rusling
Nebraska
Ni-Shudo Flute Circle
Contact Person: Colyn Petersen
2002 Deer Park Blvd., Omaha, NE 68108
Phone: 402-932-6894; E-mail: info@woodlandvoices.com
Representative to INAFA: Colyn Petersen
Nevada
Desert Cloud Flute Circle
Contact Persons: Scott and Frances Meyer
P.O. Box 60515, Boulder City, NV 89006
Phone: 702-294-2494; E-mail: smeyersailor@gmail.com
Representatives to INAFA: Scott and Frances Meyer
New Mexico
Mesilla Valley Flute Circle
Contact Person: Randy Granger
3065 Las Placitas Road, Las Cruces, NM 88011
Phone: 505-541-8073; E-mail: lonegranger@netscape.com
Representative to INAFA: Randy Granger
Wind Spirit Flute Circle
Contact Person: Gordon Keyler
P.O. Box 1946, Edgewood NM 87015
Phone: 505-281-9512; E-mail: gordy158@gmail.com
Representative to INAFA: Gordon Keyler
New Jersey
Skylands Native American Flute Circle
Contact Person: Allan Johnson
50 Mallard Drive, Hacketts Town, NJ 07840
Phone: 908-850-5771; E-mail: AJFlycasting@optonline.net
Representative to INAFA: Allan Johnson
Whispering Winds Flute Circle
Contact Person: Pat Kay
2306 Pheasant Run, Monmouth Junction, NJ 08852
Phone: 732-274-2963; E-mail: patkay22@comcast.net
Representative to INAFA: Pat Kay
New York
Hudson Valley Flute Circle
Contact Person: Jack Persely
18 Schoolhouse Road, Staatsburg, NY 12580
Phone: 845-266-5006
Representative to INAFA: Jack Persely
SongCatcher Flute Circle
Subtle Energies Holistic Health Center
Contact Person: Julie Harris
1136 Kings Highway, Chester, NY 10918
E-mail: theflutecircle@gmail.com
Representative to INAFA: Julie Harris
Great Spirit Flute Circle
Contact Person: Joelle Danant
One Spirit Learning Center
247 West 36 th Street, 6 th Floor, New York, NY
Phone: 718-783-5231; E-mail: VocalMuse@gmail.com
http://groups.yahoo.com/group/GreatSpiritFluteCircle
Representative to INAFA: Joelle Danant
Finger Lakes Flute Circle
Contact Person: Dr. Jefferson Svengsouk
601 Elmwood Avenue, Box 655, Rochester, NY 14642-8655
Phone: 585-256-1291; E-mail: wnyflutecircle@gmail.com
http://wnyflutecircle.blogspot.com
Representative to INAFA: Dr. Jefferson Svengsouk
Folkwinds Flute Circle
Contact Person: Sheryl Coleman
571 Main Street, P.O. Box 381, Fair Haven, NY 13064
Phone: 315-947-5008; E-mail: circle@folkwinds.com
http://www.folkwinds.com
Representative to INAFA: Sheryl Coleman
Silver Lake Flute Circle
Contact Person: Gera Clark
700 Victory Blvd., Staten Island, NY 10301
Phone: 917-509-8420; E-mail: gpclark1@gmail.com
Representative to INAFA: Gera Clark
Tall Pine Flute Circle
Contact Person: Eric Marczak
422 Beebe Road, Delanson, NY 12053
E-mail: epm03@hotmail.com
Representative to INAFA: Eric Marczak
North Carolina
Neuse River Flute Circle
Contact Person: Ed Dougherty
P.O. Box302, Timberlake, NC 27583
Phone: 919-359-2310; E-mail: eddough@hotmail.com
http://www.neuseriverflutecircle.com
Representative to INAFA: Ed Dougherty

Asheville Flute Circle
Contact Person: Lee Entrekin
1843 Gateway Parkway, Old Fort, NC 28762
E-mail: harpo@mindspring.com
Representative to INAFA: Lee Entrekin
Kokopelli Native American Flute Circle
Contact Person: Fred H. Roberts
3635 Fairlaine Street, High Point, NC 27265-1319
Phone: 336-869-3522; E-mail: froberts@triad.rr.com
Representative to INAFA: Fred H. Roberts
Ohio
Miami Valley Flute Circle
Contact Person: John DeBoer
117 Robinwood, Sydney, OH 45365
Phone: 937-492-8444; E-mail: jdeboer@woh.rr.com
http://www.angelfire.com/music5/flutecircle
Representative to INAFA: John DeBoer
Central Ohio Native American Flute Circle
Contact Person: Lorna Joseph
2857 Buxton Lane, Grove City, OH 43123
Phone: 614-871-1034; E-mail: lsjoseph@wowway.com
http://www.wideopenwest.com/~gejoseph
Representative to INAFA: Lorna Joseph
Massie Creek Flute Circle
Contact Person: Cynthia McDonald
2430 Tarbox-Cemetery Road, Cedarville, OH 45314
Phone: 937-474-4463; E-mail: bluelapis05@hotmail.com
Representative to INAFA: Cynthia McDonald
Oklahoma
Oklahoma Native American Flute Circle
Contact Person: Dennis Laughlin
Jacobson House, 609 Chautauqua, Norman, OK
Phone: 405-260-0340; E-mail: d407laughlin@AOL.COM
Representative to INAFA: Dennis Laughlin
Oregon
Oregon Flute Circle
Contact Person: Sherrie Kuhl
26746 Powell Road, Eugene, OR 97405
Phone: 541-344-7917; E-mail: gskuhl@televar.com
http://www.oregonflutecircle.info
Representative to INAFA: Jeff Calavan
Cascadia Flute Circle
Contact Person: Stephanie Baldridge
2580 SE Bluebonnet Court, Hillsboro, OR 97123-8314
Phone: 503-846-1755; E-mail: alaria@syrynx.net
http://www.cascadiaflutecircle.org
Representative to INAFA: Stephanie Baldridge
Columbia River Flute Circle
Contact Person: Ellen Saunders
47950 NW Dingheiser Road, Manning, OR 97125
Phone: 503-324-9320; E-mail: Ellen_L_Saunders@me.com
http://www.columbiariverflutecircle.org
Representative to INAFA: Dan Wright
Pennsylvania
Pennsylvania Native American Flute Circle
Contact Person: Mark Zagursky
5733 Cloverdale Road, Harrisburg, PA 17112
Phone: 717- 657-5795
Representative to INAFA: Mark Zagursky
Firebird Native American Flute Circle
Contact Person: Frank Ravenwolf Henninger
P.O. Box 955, Kimberton, PA 19442
Phone: 610-933-9775; E-mail: frankhenninger@yahoo.com
http://www.frankhenninger.com/firebirdflutecircle.html
Representative to INAFA: Frank Ravenwolf Henninger
Wind Dancers Native American Flute and Drum Circle
Contact Person: Debi Gagermeier
221 Pearson Street, Nanty Glo, PA 15943
Phone: 814-749-8039; E-mail: wapitidebigag@yahoo.com
Representative to INAFA: Debi Gagermeier
Warriors of the Light Flute and Drum Circle
Contact Person: WinterHawk
415 Rimer Hill Road, Templeton, PA 16259
Phone: 724-868-2771; E-mail: winterhawk40@gmail.com
http://www.winterhawk.info
Representative to INAFA: WinterHawk
Rhode Island
Rhode Island Flute Circle
Contact Person: George Penedo
72 Hawthorne Avenue, Cranston, RI 02910
Phone: 401-941-0718; E-mail: georgepen@verizon.net
Representative to INAFA: George Penedo
Tennessee
Smoky Mountain Flute Circle
Contact Person: Randy McGinnis
Greater Smoky Mountain Heritage Center
P.O. Box 268, Townsend, TN 37882-0268
Phone: 865-207-8021; E-mail: randy@echotatech.com
Representative to INAFA: Randy McGinnis
Native Flute Circle of Lebanon
Contact Person: Tricia McVey
1213 Horn Springs Road, Lebanon, TN 37087
Phone: 615-444-6663; E-mail: wildwestie@charter.net
Representative to INAFA: Tricia McVey
Texas
Lone Star Flute Circle
Contact Person: Charles E. “Buzz” Buzzard
650 Flamingo Blvd. , Lakeway, TX 78734
Phone: 512-261-5786; E-mail cbuzzaz@AOL.COM
Representative to INAFA: Buzz Buzzard
Heart of the Cedar Flute Circle
Contact Person: Rick McDaniel
1212 Bedford Lane, Lewisville, TX 75077
Phone: 972-420-9461; E-mail: lallure1@verizon.net
http://www.fluteportal.com/flutecircles/6
Representative to INAFA: Rick McDaniel
Texoma Native American Flute Circle
Contact Person: Curtis H. Willis
409 Horseshoe Lane, Burkburnett, TX 76354
Phone: 940-569-2710; E-mail: Kurt1941w@AOL.COM
Representative to INAFA: Curtis H. Willis
Greater Houston Flute Circle
Contact: Sandy Czerwinski
25910 Pepper Ridge Lane, Spring, TX 77373
Phone: 281-288-7142; E-mail: sandycz@att.net
Representative to INAFA: Sandy Czerwinski
Spring Cypress Native American Flute Circle
Contact: Sandy Czerwinski
25910 Pepper Ridge Lane, Spring, TX 77373
Phone: 281-288-7142; E-mail: sandycz@att.net
http://www.springcypressflutecircle.com
Representative to INAFA: Sandy Czerwinski
Fort Worth Flute Circle
Contact Person: Robert Brandt
3509 Medina, Fort Worth, TX 76133
Phone: 817-927-2622; E-mail: texbrandt@gmail.com
Representative to INAFA: Robert Brandt
Utah
Rocky Mountian Flute Circle
Contact Person: Brent Haines
374 West 2000 North, Mapleton, UT 84664
Phone: 801-822-1415; E-mail: brent@woodsounds.net
Representative to INAFA: Brent Haines
Zion Canyon Flute Circle of Southern Utah
Contact: Betina Lindsey
P.O. Box 362, Springdale, UT 84767
Phone: 435-772-0778
Representative to INAFA: Betina Lindsey

Virginia
Spiritheart Flute and Drum Circle (Shenandoah Valley)
Contact Person: Lou Boden
232 East Beverley Street, Staunton, VA 24401
Phone: 540-255-5555; E-mail: lousfriend54@yahoo.com
Representative to INAFA: Lou Boden
Northern Virginia Flute Circle
Contact Person: Stuart Hill
1516 Snughill Court, Vienna, VA 22182
Phone: 703-847-9099; E-mail: sjhhill@AOL.COM
http://www.potomacflutefestival.org
Representative to INAFA: Stuart Hill
Washington
Golden Winds Flute Circle
Contact Person: Theo Anderson
2067 Glenwood Hwy., Goldendale, WA 98620
Phone: 509-773-6701; E-mail: tanderson67@live.com
Representative to INAFA: C. Theo Anderson
Washington Flute Circle
Contact Person: Kent Bush
15609 SE 10 th Street, Bellevue, WA 98008
Phone: 425-591-1018; E-mail: kent_bush@sundogflutes.com
http://www.waflutecircle.com
Representative to INAFA: Kent Bush
West Virginia
West Virginia Native American Flute Circle
Contact Person: Carl Bolyard
P.O. Box 2106, Elkins, WV 26241
Phone: 304-637-5290; E-mail: Carl@allgetout.com
http://www.wvnativeamericanflutecircle.blogspot.com
Representative to INAFA: Carl Bolyard
Wisconsin
Central Wisconsin Flute Circle
Contact Person: Tom Gustin
500 Sherman Avenue, Stevens Point, WI 54481
Phone: 715-343-0665; E-mail: trmegustin@charter.net
Representative to INAFA: Tom Gustin
Clear Water Flute Circle
Contact Person: Jane Wolf
126 South Barstow, Eau Claire, WI 54701
Phone: 715-832-3055; E-mail: JaneWolf@sbcglobal.net
Representative to INAFA: Judy Willink
Madison Four Lakes Flute Circle
Contact Person: Elliot Napp
1242 Drake Street, Madison, WI 53715
Phone: 608-220-1784; E-mail: en_madison@hotmail.com
Representative to INAFA: Elliot Napp
Spirit Lake Flute Circle
Contact Person: Dan Tustison
S4395 Johnson Road, Baraboo, WI 53913
Phone: 262-643-7905; E-mail: baraboodan@centurytel.net
http://www.spiritlakeflutecircle.com
Representative to INAFA: Dan Tustison
North East Wisconsin Flute Circle
Contact Person: Michael D. Farmer
P.O. Box 555, Baileys Harbor, WI 54202
Phone: 920-839-2191; E-mail: mfarmer1876@gmail.com
Representative to INAFA: Michael D. Farmer
Convention Raffle Tickets
Kokopelli Flute Circle of the Greater Milwaukee Area
Contact Person: Trish Anderson
W228 N3952 Crescent Drive, Pewaukee, WI 53072
Phone: 262-695-2423; E-mail: tri-and@excite.com
Representative to INAFA: Trish Anderson
International
Dutch/Belgium Native American Flute Circle
Contact Person: Hans van Gurp
Koepeldwarsstraat 6
4611 JV Bergen op Zoom, The Netherlands
E-mail: Gurpie@hotmail.com
http://home.zonnet.nl/lonewolf-flutes/
Andean Native American Flute Circle
Contact Person: Kike Pinto
Native Andean American Flutes Circle
Pumakurka 519, Cusco, Peru
E-mail: institutotaki@gmail.com
http://institutotaki.blogspot.com
Representative to INAFA: Kike Pinto
Saskatoon Flute Circle
Contact Person: Richard Dubé
2505 Cumberland Avenue South, Saskatoon, SK,
Canada , S7J 2A1
Phone: 306-343-6037; E-mail: radmusic@sasktel.net
Representative to INAFA: Richard Dubé
Northern Woods Flute Circle
Contact Person: Diana Atherton Davis
5845 Aurora Road, R.R. 3, Stouffville, Ontario, Canada L4A-7X4
Phone: 905-640-6052; E-mail: fluteelder@pathcom.com
Representative to INAFA: Diana Atherton Davis
Kempenfelt Bay Flute Circle (Barrie/Ontario Area)
Contact Person: Leslee Tassie
135 Santa’s Village Road, RR #1
Bracebridge, Muskoka, Ontario, Canada P1L-1W8
Phone: 705-645-5042; E-mail: s.tassie@sympatico.ca
Representative to INAFA: Diana Atherton Davis
Muskoka Woodland Echoes Flute Circle
Contact Person: Leslee Tassie
135 Santa’s Village Road, RR #1
Bracebridge, Muskoka, Ontario, Canada P1L-1W8
Phone: 705-645-5042; E-mail: s.tassie@sympatico.ca
Representative to INAFA: Diana Atherton Davis
Earthsong Flute Circle
Contact Person: Craig Chan
8 Chirnside Place, Kambah, ACT, Australia 2902
E-mail: earthsongflutes@bigpond.com
Representative to INAFA: Craig Chan
Nothern Alberta Native American Flute Circle
Contact Person: Janina Carlstad
#203, 12025 Royal Oaks Drive, Grande Prairie, Canada AB, T8V-2K8
Phone: 250-219-2771; E-mail: vikingsoul-2@hotmail.com
http://www.nanaflutecircle.com
Representative to INAFA: Janina Carlstad
Nanaimo Flute Circle
Contact Person: Terry Mack
354 Aspen Way, Nanaimo, B.C., Canada V9R-7A1
Phone: 250-740-0472; E-mail: tmack@peacefulspiritflutes.com
Representative to INAFA: Diana Holmes
Advanced raffle tickets for the INAFA convention may be purchased by sending funds directly to the organization by July 10, 2012.
Tickets will be filled out for you, hand carried to the convention, and placed in the raffle box. You may purchase as many tickets as
desired, but you may only win once. Tickets are $5 each or 5 tickets for $20. Please make funds payable to INAFA and send to:
INAFA Convention Raffle, 3351 Mintonville Point Drive, Suffolk, VA 23435

Arizona
Odell Borg
P.O. Box 522
Patagonia, AZ 85624
Phone: 1-800-394-1523
E-mail: highspirits@theriver.com
Laura Lee Perkins
13238 West Shadow Hills Dr.
Sun City West, AZ 85374
Phone: 623-544-3740
E-mail: spiritualquest@earthlink.net
Web site: www.whiteowlproducts.com
Kathryn Twinfeathers
Tucson, AZ
Phone: 520-784-4468
E-mail: ktwinfeathers@yahoo.com
Kenneth Bogart
16655 South Third Place
Phoenix, AZ 85048
Phone: 602-677-3119
E-mail: nafwarrior@gmail.com
Web site:
www.sites.google.com/site/ravenwoodflute
Bette Acker
Payson, AZ 85541
Phone: 602-625-1696
E-mail: Bette@azacker.com
Web site: www.azsirocco.com
Keith Stanford
4505 West Mesquital Del Oro, Tucson, AZ 85742
Phone: 520-591-7418
E-mail: eenncar@aol.com
California
Guillermo Martinez
28691 Modjeska Canyon Road
Modjeska, CA 92676
Phone: 714-649-3244
E-mail: Quetflutes@earthlink.net
John Kingsmill
707 4th Street
Encinitas, CA 92024
Phone: 858-395-0075
Robert De Mattei
1580 Parrot Avenue
Sunnyvale, CA 94087
Phone: 408-732-3009
E-mail: rcdemattei@comcast.net
Alfred King
1305 North H Street, PMB 289
Lompoc, CA 93436
Phone: 805-736-0449
E-mail: alfredking@earthlink.net
Joanne Lazzaro
741 Santa Barbara Street
Pasadena, CA 91101
Phone: 626-533-7670
E-mail: JoLazzaro@earthlink.net
Florida
Dock Green
4850 Knights Loop
Plant City, FL 33565
Phone: 813-754-8990
E-mail: slvhawk@AOL.COM
Flute Instructor Directory
Sonny Nevaquaya, Comanche Flutist
6340 NW 34th Street
Hollywood, FL 33024
Phone: 954-322-6196
Georgia
Cecelia Turbyville
3050 Margaret Mitchell Drive, #5
Atlanta, GA 30327
Phone: 678-427-8863
E-mail: cecelia@mindspring.com
Illinois
H. Elaine Belsley
1042 Johnson Street
Morton, IL 61550
Phone: 309-266-7018
E-mail: gbelsleygeheim@hotmail.com
Diane Willis
2226 Wilmette Avenue
Wilmette, IL 60091
Phone: 847-251-7270
E-mail: docflute@AOL.COM
Rob Miller
8 Norbert Drive
Hawthorn Woods, IL 60047
Phone: 847-341-5101
E-mail: ishkaynay@gmail.com
Kansas
Betty Austin Hensley
4707 Looman
Wichita, KS 67220
Phone: 316-683-5772
Kentucky
Fred Keams
105 Morningside Drive
Lawrenceburg, KY 40342
Phone: 502-859-2155
E-mail: fredkeams@hotmail.com
Maryland
Jeff Ball
701 Still Creek Lane
Gaithersburg, MD 20878
Phone: 301-524-1337
E-mail: jeff@jeffball.net
Web site: www.jeffball.net
Jan Seiden
6106 Old Harford Road
Baltimore, MD 21214
Phone: 410-627-3062
E-mail: music@janseiden.com
Massachusetts
Barry Higgins
111 Birch Street
Greenfield, MA 01301
Phone: 413-774-5223
E-mail: barry@whitecrowflutes.com
Michigan
Jim Murphy
393 Star Road
Sanford, MI 48657
Phone 989-689-6345
E-mail: jimurph@chartermi.net
Missouri
Mark Holland
P.O. Box 440162
St. Louis, MO 63144
Phone: 314-963-1782
E-mail: autumnschild@sbcglobal.net
Web site: www.autumnschild.com
New Jersey
Allan Johnson
50 Mallard Drive
Hacketts Town, NJ 07840
Phone: 908-850-5771
E-mail: AJFlycasting@optonline.net
New York
Susan Schuster
31 Eton Drive
Slingerlands, NY 12159
Phone: 518-482-0930
E-mail: SSchuste@nycap.rr.com
Ohio
David Claude Rogers
1333 Fleetwood Drive
Fremont, OH 43420
Phone: 419-353-2050
E-mail: dcrogers@flutemusicfromtheheart.com
John DeBoer
117 West Robinwood Street
Sidney, OH 45365
Email: jdeboer@woh.rr.com
Oregon
Sherrie Kuhl
26746 Powell Road
Eugene, Oregon 97405
Phone: 541-344-7917
E-mail: gskuhl@televar.com
Ellen Saunders
47950 NW Dingheiser Road
Manning OR 97125
Phone: 503-324-9320
E-mail: ellen_l_saunders@me.com
Web site: http://silvanusgrove.com
Stephanie Baldridge
2580 SE Bluebonnet Court
Hillsboro, OR 97123-8314
Phone: 503-846-1755
E-mail: alaria@syrynx.net
Web site: www.nativeamericanflutelessons.com
Pennsylvania
Frank Henninger
P.O. Box 955
Kimberton, PA 19442
Phone: 610-933-9775
E-mail: frankhenninger@yahoo.com
www.frankhenninger.com
Ian Haag
Rainbows of Healing
123 W. Maple Avenue
Langhorne, PA 19047
Phone: 267-840-8003
E-mail: ian@rainbowsofhealing.com
Web site: www.rainbowsofhealing.com

WinterHawk
415 Rimer Hill Road
Templeton, PA 16259
Phone: 724-868-2771
E-mail: winterhawk40@gmail.com
Web site: www.winterhawk.info
Rhode Island
George Penedo
72 Hawthorne Avenue
Cranston, RI 02910
Phone: 401-941-0718
E-mail: georgepen@verizon.net
South Carolina
Kathie Corley
405 Planters Trace Drive
Charleston, SC 29412
Phone: 843-406-2946
Texas
Cornell Kinderknecht
14604 Dove Court
Addison, TX 75001
Phone: 214-452-8963
E-mail: ckinafa@cornellk.com
Utah
Steve Weiss
176 South 100 East
Smithfield, UT 84335
Phone: 435-563-8124
E-mail: greyhawk.feather@gmail.com
Web site:
www.nativeamericanfluteinstruction.com
Virginia
Dr. Kathleen Joyce-Grendahl
3351 Mintonville Point Drive
Suffolk, VA 23435
Phone: 757-651-8328
E-mail: Grendahlk@AOL.COM
International
Leslee Tassie
135 Santa's Village Road, RR#1
Bracebridge, Ontario, Canada, P1L 1W8
E-mail: s.tassie@sympatico.ca
Hans van Gurp
Koepeldwarsstraat 6
4611 JV Bergen op Zoom
The Netherlands
Tel: ++31 164 260042
E-mail: Gurpie@hotmail.com
Diana Atherton Davis
5845 Aurora Road, R.R.3
Stouffville, Ontario, Canada L4A-7X4
Phone: 905-640-6052
E-mail: fluteelder@pathcom.com
Terry Mack
354 Aspen Way
Nanaimo, BC, Canada V9R-7A1
Phone: 250-740-0473
E-mail: tmack@peacefulspiritflutes.com

Native American Flute Maker/Dealer Directory
Amon Olorin Flutes
Contemporary Native American Designs
492 Lemlama Lane, Arlee, MT 59821
Phone and Fax: 406-726-3353; E-mail: aoflutes@blackfoot.net
Web site: www.aoflutes.com
Flute Maker: Ken Light
Anasazi Dream Flutes
3401 Laguna Avenue, Davis, CA 95618
Phone: 530-759-2041; E-mail: markpurtill@comcast.net
Web site: www.anasazidream.blogspot.com
Flute Maker: Mark Purtill
Burning Wood Flutes
6050 Roselle Avenue, Riverbank, CA 95367
Phone: 209-581-2498; E-mail: heyyu@charter.net
Web site: www.burningwoodflutes.com
Flute Maker: Keith C. Oberdeick
Butch Hall Flutes
P.O. Box 333, Weatherford, TX 76086
Phone: 817-596-8155; E-mail: butch@butchhallflutes.com
Web site: www.butchhallflutes.com
Flute Maker: Butch Hall
Feather Ridge Flutes
533 Green Ridge Road, Lisbon, IA 52253
Phone: 319-455-2562; E-mail: info@featherridgeflutes.com
Web site: www.featherridgeflutes.com
Flute Maker: Randy Stenzel
High Spirits Flutes
P.O. Box 522, Patagonia, AZ 85624
Phone: 1-800-394-1523; E-mail: highspirits@theriver.com
Web site: www.highspirits.com
Flute Maker: Odell Borg
Jim Gilliland Flutes and Crafts
River Cane and Wooden Flutes
P.O. Box 200, Madison, AL 35758
Phone: 256-829-2328; E-mail: jgflutes@AOL.COM
Web site: www.jimgillilandflutes.com
Flute Maker: Jim Gilliland
Journey of Life Flutes
Norman, OK
Phone: 405-630-0850
Web site: www.jolflutes.com
Flute Makers: Dan and Jean Selchow
Lone Crow Flutes
2534 Difficult Creek Road, Bedford, VA 24523
Phone: 540-297-6077; E-mail: caveratLC@AOL.COM
Web site: www.LCrowFlutes.com
Flute Maker: Leonard McGann
Meadowlark Flutes
14173 West Alaska Drive, Lakewood, CO 80228
Phone: 303-989-9834; E-mail: john@meadowlarkflutes.com
Web site: www.meadowlarkflutes.com
Flute Maker: John Kulias
Nevaquaya Handmade Comanche Flutes and Music
6340 NW 34 th Street, Hollywood, FL 33024
Phone: 954-983-4372
Flute Maker: Sonny Nevaquaya
Natural Winds Flutes
445 Eugene Drive, Lake Geneva, WI 53147
Phone: 262-203-1291; E-mail: nwindsflutes@sbcglobal.net
Flute Maker: Bob Nelson
Oregon Flute Store
90944 Leashore Drive, Vida, OR 97488
Phone: 1-888-88-FLUTE; E-mail: info@oregonflutestore.com
Web site: www.oregonflutestore.com
Flute Maker/Owners: Jeff and JoAnn Calavan
Carrying flutes by Scott Loomis, Brent Haines, Stellar Flutes, James
Gilliland, Guullermo Martinez, Chris Ti Coom, Ken Light, Jeff Calavan,
and a Custom Flute Shop; We offer cases, books, videos, and accessories
for the Native American flute.
Shades of Rez Native Flutes for the Seventh Generation
733 Arrowhead Trail, Henderson, NV 89002
Phone: 702-497-7062; E-mail: timblueflint@shadesofrez.com
Web site: www.shadesofrez.com
Flute Maker: Tim Blueflint
Spirit Bird Flutes
26746 Powell Road, Eugene, OR 97405
Phone: 541-344-7917; E-mail: gskuhl@televar.com
Flute Maker: Gary Kuhl
Spirit of the Woods Flutes
P.O. Box 1528, Hood River, OR 97031
Phone: 1-800-236-0406; E-mail: Ed@spiritofthewoodsflutes.com
Web site: www.spiritofthewoodsflutes.com
Flute Maker: Ed Hrebec
Stellar Flutes
E. 2030 Phillips Lake Loop, Shelton, WA 98584
Phone: 1-888-427-8850
Web site: www.stellarflutes.com
Flute Makers: Tom and Matt Stewart
Theodore Ceplina Flutes
1807 Christy Court, Stevens Point, WI 54482
E-mail: info@theodoreceplina.com
Web site: www.theodoreceplina.com
Flute Maker: Theodore Ceplina
American Indian replica flutes, quenas, instrument repair, Native
American flutes
Querencia Woodwinds
1567 Golden Avenue, Hermosa Beach, CA 90254
Phone: 310-379-6764; E-mail: Querenciaflutes@AOL.COM
Web site: www.querenciaflutes.com
Flute Maker: Richard C. Halliburton
Uguna Flutes
5 Parklands, Okehampton, Devon, EX20-1EG, United Kingdom
Phone: +44-1837-52391; E-mail: root@ugunaflutes.co.uk
Flute Maker: Geoff Norman
Whirlwind Studios
P.O. Box 2421, Pine Cove, CA 92549
Phone: 1-877-358-8371; E-mail: mac@whirlwindstudios.com
Web site: www.whirlwindstudios.com
Flute Maker/Dealer: Mac Lopez
Wild Horse Mountain Flutes
8635 Cliffridge Avenue, La Jolla, CA 92037
Phone: 858-453-0201; E-mail: ojones@wildhorsemountainflutes.com
Web site: www.wildhorsemountainflutes.com
Flute Maker: Dr. Oliver W. Jones, Jr.
Woodsounds Flutes
374 West 2000 North, Mapleton, UT 84664
Phone: 801-822-1415; E-mail: brent@woodsounds.com
Web site: www.woodsounds.com
Flute Maker: Brent Haines

Kokopelli Bucks Program!
INAFA is pleased to offer its members a discount program called Kokopelli Bucks. With each issue of Voice of the Wind, a 10 percent
discount coupon will be included. This coupon can be used to purchase merchandise from participating retailers and flute makers.
However, it cannot be combined with any other offer, unless permitted by the retailer or flute maker. Only one coupon can be used per
purchase. This discount is for retail purchases, not for distributor or wholesale purchases. The coupons will be a different color with each
issue and cannot be photocopied. There is a number code on each coupon for those of you who order merchandise over the phone or via
the Internet.
The following retailers and flute makers have graciously agreed to participate in this discount program. INAFA sincerely thanks them for
their generosity and commitment to the organization.
Buffalo Moon Flutes
Keith Glowka
P.O. Box 301236, Austin, TX 78703
Phone: 512-467-0369
Web site: www.buffalomoonflutes.com
Burning Wood Flutes
Keith Oberdieck
6050 Roselle Avenue, Riverbank, CA 95367
Phone: 209-581-2498
E-mail: heyyu@charter.net
Web site: www.burningwoodflutes.com
Cherry Cows Native American Flute
Keith Stanford
4505 W. Mesquital Del Oro, Tucson, AZ 85742
E-mail: eenncar@AOL.COM
Web site: www.cherrycows.com
The world’s easiest to use and most complete
manual on making the Native American style
flute.
Four Winds Walking
Jeff King
Route 1, Box 51, Preston, MO 65732
Phone: 417-722-4558
E-mail: jef@positech.net
Web site: www.fourwindswalking.com
Ghost Owl Flutes
David A. Myers
1352 Morningside Drive, Fostoria, OH 44830
Phone: 419-435-1019
E-mail: owl458W@woh.rr.com
Web site: www.ghostowlflutes.com
High Spirit Flutes
Odell Borg
P.O. Box 522, Patagonia, AZ 85624
Phone: 1-800-394-1523
Web site: www.highspirits.com
J. Atkinson Flutes
John Atkinson
215 Antelope Trail, Whitefish, MT 59937
Phone: 406-862-0312
E-mail: jatkinsonstudio@optimum.net
Web site: www.johnatkinsonstudio.com
John Vames Instructional Materials
8513 E. Mulberry Street, Scottsdale, AZ 85251
Phone: 1-888-884-9604
Web site: www.flutejourneyworkshops.com
Interactive introductory learn-to-play and
advanced jazz book available with CDs.
Lone Crow Flutes
Leonard McGann
2534 Difficult Creek Road, Bedford, VA 24523
Phone: 540-297-6077
E-mail: CaveratLC@AOL.COM
Web site: www.lonecrowflutes.com
Makoché Records
P.O. Box 2756, Bismarck, ND 58502-2756
Phone: 1-800-637-6863
Web site: www.makoche.com
CDs/tapes of Native American music - From
the Earth comes all things. From our breath and
our heartbeats comes music.
Medicine Wheel Flutes
John and Maggie Eley
4740 12th Avenue NE, Keizer, OR 97303
Phone: 1-888-926-4676
E-mail: medicinewheelstudios@msn.com
Web site: www.medicinewheelstudios.com
One World Flute
Kirti L. Shah
Web site: www.one-world-trading.com
Oregon Flute Store
Jeff and JoAnn Calavan
90944 Leashore Dr., Vida, OR 97488
Phone: 1-888-88-FLUTE
E-mail: info@oregonflutestore.com
Web site: www.oregonflutestore.com
10% off any flute we carry or Eagle Series flute
quiver - Your one stop shop for all your Native
American flute needs!
Shades of Rez Custom Flutes
Tim Blueflint
2071 Pinion Springs Dr., Henderson, NV 89074
Phone: 702-497-7062
E-mail: tblueflint@cox.net
Web site: www.shadesofrez.com
Spirit of the Woods Flutes
Ed Hrebec
P.O. Box 1528, Hood River, OR 97031
Phone: 1-800-236-0406
E-mail: Ed@SpiritOfTheWoodsFlutes.com
Web site: www.spiritofthewoodsflutes.com
Close your eyes and enjoy the sounds that your
inner spirit, along with the Spirit of the Woods,
can bring.
Storyteller Flutes
Roy Peters
5530 Sand Hill Road, Verona, NY 13478
Phone: 315-361-8372
Web site: www.storytellerflutes.com
Native American love flute - a journey of the
heart, soul, and mind.
Journey of Life Flutes
Dan and Jean Selchow
Norman, OK
Phone: 405-630-0850
E-mail: danselchow@hotmail.com
Web site: ww.jolflutes.com
The Chauga River Whittler
John Davis
P.O. Box 319, Westminster, SC 29693
Phone: 864-647-5243
Wood and woodcarving supplies; Flute making
sessions using bamboo
The Flute Case Store
Mark Slater
P.O. Box 501, Rockwall, TX 75087
Phone: 972-772-0371
Web site: www.flutecase.com
Whether around the corner or around the
world, let us accompany you on your journey!
Thunder Bear Flutes
Randy Starnes
506 South Railroad Street, Sparland, IL 61565
Phone: 309-469-2132
E-mail: tbflutes2@yahoo.com
Web site: www.tbflutes.com
Victor Flutes
Victor Christensen
6366 Dardo, Maple Falls, WA 98266
Phone: 360-599-9350
E-mail: VFluteman@wmconnect.com
Offering a 20% discount to INAFA Members!
Waking Spirit Productions
Vance Pennington
34487 Bennett Road, Warren, OR 97053
Phone: 503-397-1242
E-mail: waking-spirit@waking-spirit.com
Web site: www.waking-spirit.com
Whirlwind Flutes
Mac Lopez
P.O. Box 2421, Pine Cove, CA 92549-2421
Toll Free: 1-877-358-8371
Web site: www.whirlwindstudios.com
Specializing in Woodlands Style Native
American flutes
White Owl Products
Ken Green and Laura Lee Perkins
17200 W. Bell Road, #2346, Surprise, AZ 85374
Phone: 623-544-3740
E-mail: spiritualquest@earthlink.net
Web site: www.whiteowlproducts.com
Woodland Voices Flutes
Colyn Petersen
2002 Deer Park Blvd., Omaha, NE 68108
Phone: 402-932-6894
E-mail: info@woodlandvoices.com
Web site: www.woodlandvoices.com
Woodsounds Flutes
Brent Haines
374 West 2000 North, Mapleton, UT 84664
Phone: 801-822-1415
Web site: www.woodsounds.com

Recent Releases
Canyon Records – 3131 West Clarendon Avenue, Phoenix, AZ 85017; Phone: 1-800-268-1141; www.canyonrecords.com
Earth Warrior – Tony Duncan (CD; CR-7094)
Walk upon Mother Earth in a good way with the spirit of a warrior, as an Earth Warrior, Light of Our Ancestors. With these
words in his heart, Tony Duncan (Apache/Mandan/Arikara/Hidatsa) performs songs for the Native American flute expressing
his devotion to his family, traditions, and music. This is solo Native American flute music with a traditional feel. Some tracks
include guitar or traditional vocals.
Cedar n Sage Music – P.O. Box 440162, St. Louis, MO 63144; www.autumnschild.com
Instruments of Peace – Mark Holland (CD)
See the CD review in this issue of Voice of the Wind.
Woodsounds Flutes – 374 West 2000 North, Mapleton, UT 84664; Phone: 1-888-803-5889; www.woodsounds.com
Journey With the Native Flute: A Step-By-Step Guide – Brent Haines (DVD)
There has never been a better tool for learning to play the Native flute. Through the instruction on this video, Brent Haines takes
the student on a journey of musical instruction that guides the student from a novice player to an advanced player. Through
example, Brent teaches how to play three different scales, five songs, and seven techniques. Additionally, he teaches how to best
care for your instruments. Also, Brent takes you on a small tour of his shop. Crystal clear, close-up video is combined with splitscreen
imagery to allow the student to easily follow the instruction.
Chandi Productions – www.bansuri.net; www.cdbaby.com/Artist/GSSachdev4
Introspection – G.S. Sachdev and Swapan Chanduri (CD)
Bansuri and Tabla: Full concert recording in Berkeley, dedicated to the life and music of the beloved Guru, Vijay Raghav Rao,
who guided Sachdev in his musical path.
Pukar, Calling from the Depths of the Heart - G. S. Sachdev (CD)
Enjoy Sachdev's unique interpretations of traditional classical Indian ragas in this album of solo bansuri, recorded during live
concerts at Sivananda Ashrams and retreats in Europe.
Flying Frog Music – P.O. Box 177, Fairhope, AL 36533; Phone: 251-928-0987; www.cdbaby.com/cd/mithril6
Along the Road – Mithril (CD)
Mithril is one of the most sought after Celtic/world music groups on the concert series scene. The band’s unique progressive
style has its roots in traditional Celtic music but moves far beyond that, weaving such diverse influences as American folk,
classical, and Middle Eastern melodies into their full tapestry of sound. Heard on this CD is flute, fiddle, guitar, and percussion,
with additional colors including Celtic harp, small pipes, and octave mandolin. Three tracks feature string orchestra along with
the band (5, 8, and 9) and the song “Celtic Silk Road” also includes oboe, horn, bassoon, and clarinet in the orchestra!
Eliyahu Sills – www.eliyahumusic.com
Song of the Reed – Eliyahu Sills (CD)
This is a new recording of meditative music of the Turkish ney, a devotional, simple, and timeless music. The ney, a flute made of
a simple reed, is one of humanity’s oldest instruments. Highly revered by many Sufi traditions, the great mystic poet Rumi spoke
of the ney as “the sound of the soul.”

Alabama
Mithril Celtic Ensemble – Along the Road CD Concert
USA Laidlaw Performing Arts Center Hall, University of South Alabama
Date: June 14, 2012 (7:30 p.m.)
Location: 5751 USA Drive, Mobile
Contact: 251-460-6136
Mitrhil Celtic Ensemble at The Tea Room
Date: September 14, 2012 (6:30 p.m.)
Location: 4513 Old Shell Road, Suite D, Mobile
Contact: www.mithril.us
Arizona
R. Carlos Nakai and the Earth Sounds Ensemble
Old Town Center for the Arts
Date: September 25, 2012
Location: 5 th Street and Main, Cottonwood
Contact: www.oldtowncenter.org
R. Carlos Nakai and the Earth Sounds Ensemble – Concert/Workshops
Northern Arizona University
Dates: September 23-24, 2012
Location: Flagstaff
Contact: www.rcarlosnakai.com
R. Carlos Nakai and the Earth Sounds Ensemble – Concert/Workshops
Mesa Arts Center
Dates: September 27-28, 2012
Location: One East Main Street, Mesa
Contact: www.mesaartscenter.com
California
Eliyahu Sills & The Qadim Ensemble
Arlene Francis Center
Date: July 1, 2012 (7:00 p.m.)
Location: 99 6 th Street, Santa Rosa
Contact: 707-528-3009
Lark Camp, Celebration of World Music
Dates: July 27-August 4, 2012
Location: Mendocino
Contact: 707-964-5569; www.larkcamp.com
Yosemite Flute and Art Festival
Dates: September 21-23, 2012
Location: 50552 Road 632, Oakhurst
Contact: www.yosemiteflutefest.com
Colorado
R. Carlos Nakai – Mancos Opera House
Date: June 16, 2012
Location: 136 West Grand Avenue, Mancos
Contact: 970-565-8227
R. Carlos Nakai and Peter Kater– Chautauqua Auditorium
Date: June 30, 2012 (8:00 p.m.)
Location: 900 Baseline Road, Boulder
Contact: www.chautauqua.com
R. Carlos Nakai and Will Clipman – Avalon Theater
Date: August 25, 2012
Location: 645 Main Street, Grand Junction
Contact: 970-263-5720
R. Carlos Nakai, William Eaton, and Will Clipman – Swallow Hill
Date: November 2, 2012 (8:00 p.m.)
Location: Daniels Hall, Denver
Contact: www.swallowhill.com
Flute Events
Connecticut
Joseph Firecrow – Hackney’s Hope Farm Powwow
Date: June 23-24, 2012
Location: 174 Wilcox Road, Middletown
Contact: www.josephfirecrow.com
Joseph Firecrow – Native American Awareness Powwow
Date: June 30 and July 1, 2012
Location: Pleasant View Farms, 452 South Road, Somerset
Contact: 860-461-3995
Florida
Native Rhythms Festival - Wykham Park
Dates: November 9-11, 2012
Location: Melbourne
Contact: www.nativerhythmsfestival.com
Georgia
Mithril Celtic Ensemble and The King-O’Sullivan Irish Dancers
Rabun County Music Festival
Date: August 26, 2012 (4:00 p.m.)
Location: 339 Nacoochee Drive, Rabun Gap
Contact: www.mithril.us; www.rabunmusicfestival.com
Illinois
Randy Granger – The World of Faeries Festival
Date: August 4-5, 2012
Location: South Elgin
Contact: www.theworldoffaeries.com
Mark Holland and N. Scott Robinson (Wind & Fire Duo)
Salute to the Arts Festival
Date: August 26, 2012 (1:00 p.m.)
Location: Fairview Heights
Contact: www.autumnschild.com
Mark Holland and Autumn’s Child – Jacoby Arts Center
Date: October 27, 2012
Location: Alton
Contact: www.autumnschild.com
Iowa
Mark Holland – Faith United Church of Christ
Date: June 22, 2012 (7:00 p.m.)
Location: Davenport
Contact: www.autumnschild.com
Mark Holland – United Methodist Church
Date: June 23, 2012 (7:00 p.m.)
Location: Mount Vernon
Contact: www.autumnschild.com
Jonny Lipford – Uptown Marion Market
Date: July 14, 2012 (8:00 a.m.)
Location: 7 th Avenue and 10 th Street, Marion
Contact: www.jonnylipford.com
Jonny Lipford – Unity Cedar Rapids
Date: July 15, 2012 (1:00 p.m.)
Location: 3791 Blairs Ferry Road NE, Cedar Rapids
Contact: www.jonnylipford.com
Maryland
Randy “Windtalker” Motz – Chloe’s Coffee and Gallery
Date: June 16, 2012 (8:00 p.m.)
Location: 244 Main Street, Gaithersburg
Contact: www.chloescoffee.net
Randy “Windtalker” Motz – Detour Winery
Date: June 24, 2012 (1:00 p.m.)
Location: 7933 Forest & Stream Club Road, Detour
Contact: www.detourwinery.com

Randy “Windtalker” Motz – Elk Run Vineyards
Date: July 8, 2012 (3:00 p.m.)
Location: 15113 Liberty Road, Mt. Airy
Contact: www.elkrun.com
Randy "Windtalker" Motz - Beans in the Belfry
Date: July 14, 2012 (7:00 p.m.)
Location: 122 West Potomac Street, Brunswick
Contact: www.beansinthebelfry.com
Randy “Windtalker” Motz – The New Deal Café
Date: July 18, 2012 (7:00 p.m.)
Location: 113 Centerway-Roosevelt Center, Greenbelt
Contact: www.newdealcafe.com
Randy “Windtalker” Motz – Detour Winery
Date: August 12, 2012 (1:00 p.m.)
Location: 7933 Forest & Stream Club Road, Detour
Contact: www.detourwinery.com
Randy "Windtalker" Motz - The Music Cafe
Date: September 8, 2012 (7:00 p.m.)
Location: 26528-B Ridge Road, Damascus
Contact: www.the-music-cafe.com
2012 East Coast Flute Cruise to King’s Wharf, Bermuda
Departing from and Returning to Baltimore
Dates: September 14-20, 2012
Location: Baltimore
Contact: rbennett3@comcast.net
Massachusetts
Joseph Firecrow
Red Road 10 th Annual Native American Sobriety Powwow
Date: June 16, 2012
Location: 1111 Somerset Avenue, Route 138, Dighton
Contact: 508-880-6887
Jonny Lipford – Enchanted Fox
Date: July 27, 2012 (7:00 p.m.)
Location: 174 Main Street, Medway
Contact: www.jonnylipford.com
Jonny Lipford Workshop
Date: July 28, 2012 (6:30 p.m.)
Location: 174 Main Street, Medway
Contact: www.jonnylipford.com
R. Carlos Nakai and the Earth Sounds Ensemble – Concert/Workshops
World Music/CRASHarts
Date: October 2, 2012
Location: Boston
Contact: www.worldmusic.org
Michigan
John Sarantos with The Robert Lee Jazz Revue
Jazz on Jefferson Festival
Date: June 6, 2012 (5:00 p.m.)
Location: Saginaw
Contact: www.facebook.com/JohnSarantos
Rhonda Larson and Ventus – Methodist Church Concert Series
Date: June 29, 2012 (7:30 p.m.)
Location: South Haven
Contact: www.rhondalarson.com
Minnesota
Mithril Celtic Ensemble with Billy McLaughlin
Celtic Junction
Date: July 20, 2012 (8:00 p.m.)
Location: 836 Prior Avenue, St. Paul
Contact: www.billymclaughlin.com/schedule.php
Missouri
Mark Holland – CD Release Party at The Chapel
Date: June 16, 2012 (7:30 p.m.)
Location: 6238 Alexander Drive, St. Louis
Contact: www.chapelvenue.com
Mark “Wandering Bear” Barger
Farmers Market Fund Raiser – Murrow Indian Children’s Home
Date: June 23 and July 28, 2012
Location: King Jack Park, Webb City
Contact: www.wanderingbearmusic.com
Mithril Celtic Ensemble with the Missouri Symphony
Missouri Theatre
Date: July 7, 2012 (7:30 p.m.)
Location: 203 South Ninth Street, Columbia
Contact: 573-875-0600
Mark Holland and Autumn’s Child
Summer Concert Series – Creve Coeur Park
Date: July 20, 2012 (7:00 p.m.)
Location: St. Louis
Contact: www.autumnschild.com
Chris Otto – Overland Farmers Market
Date: July 28 and August 25, 2012 (10:00 a.m.)
Location: Overland
Contact: www.chrisottomusic.com
Mark Holland and N. Scott Robinson (Wind & Fire Duo)
The Chapel
Date: August 25, 2012
Location: 6238 Alexander Drive, St. Louis
Contact: www.autumnschild.com
Montana
R. Carlos Nakai – Glacier Symphony
Performing James DeMars’ Desert Suite
Dates: July 6-7, 2012
Location: Kalispell
Contact: www.rcarlosnakai.com
Renaissance of the Native American Flute Workshop
Facilitators: R. Carlos Nakai, Ken Light, and John Sarantos
Dates: August 5-10, 2012
Location: Helena
Contact: www.aoflutes.com
New Mexico
Randy Granger – Southern New Mexico Pride Festival, Pioneer Park
Date: June 16, 2012 (1:00 p.m.)
Location: 500 Las Cruces Street, Las Cruces
Contact: www.randygranger.net
R. Carlos Nakai – Abiquiu Chamber Music Festival
Date: August 19, 2012
Location: Abiquiu
Contact: www.rcarlosnakai.com
Randy Granger – Franciscan Festival of Fine Arts
Dates: September 1-2, 2012 (10:00 a.m.)
Location: 600 Holy Cross Road, Mesilla Park
Contact: www.holycrossretreat.org
Randy Granger – Atkinson Recital Hall, NMSU Campus
“O Fair New Mexico – Celebrating 100 Years”
Date: September 9, 2012 (3:00 p.m.)
Contact: www.randygranger.net
R. Carlos Nakai – Earth Sounds Ensemble Concert/Workshops
Globalquerque World Music Festival
National Hispanic Cultural Center
Dates: September 21-22, 2012
Location: 1701 4 th Street, Albuquerque
Contact: www.globalquerque.com
New York
Joseph Firecrow – Clearwater’s Great Hudson River Revival
Croton Point Park (Rainbow Stage)
Date: June 17, 2012 (11:00 a.m.)
Location: Croton-on-Hudson
Contact: www.josephfirecrow.com
John Sarantos - Mini Concert/Lecture
Date: August 14, 2012 (6:00 p.m.)
Location: New York Open Center, New York City
Contact: 212-219-9635

John Sarantos – Learn to Play the Native Flute
Dates: August 14, 16, 21, and 23, 2012 (8:00 p.m.)
Location: New York Open Center, New York City
Contact: 212-219-9635
John Sarantos - Basics and Beyond Workshop
Dates: August 15 and 22, 2012 (7:30 p.m.)
Location: 25 West 31st Street, New York City
Contact: jkokopelli@earthlink.net
John Sarantos in Concert - Everything Goes Book Cafe
Date: August 18, 2012 (8:00 p.m.)
Location: 208 Bay Street, Staten Island
Contact: jkokopelli@earthlink.net
John Sarantos - Basics Beginner’s Class
Date: August 19, 2012 (2:15 p.m.)
Location: Studio 353, 353 West 48th Street, New York City
Contact: jkokopelli@earthlink.net
John Sarantos - Basics Beginner’s Class
Date: August 26, 2012 (2:15 p.m.)
Location: Studio 353, 353 West 48th Street, New York City
Contact: jkokopelli@earthlink.net
North Carolina
Randy Granger – Carrboro Century Center
Date: June 26, 2012 (7:00 p.m.)
Location: 100 North Greensboro Street, Carrboro
Contact: www.randygranger.net
John Sarantos - Strong Sun Powwow
July 13-15, 2012
Location: Tanglewood Park
Contact: www.nearriverdwellers.com
R. Carlos Nakai and Peter Kater
Diana Wortham Theater
Date: July 13, 2012
Location: Asheville
Contact: www.rcarlosnakai.com
John Sarantos – The Yadkin Cultural Arts Center
Date: July 13, 2012 (6:00 p.m.)
Location: 226 East Main Street, Yadkinville
Contact: jkokopelli@earthlink.net
John Sarantos and Fred Nez Keams - Tanglewood Park Concert
Date: July 15, 2012 (6:30 p.m.)
Location: 4061 Clemmons Road, Clemmons
Contact: www.nearriverdwellers.com
Ohio
Mark Thunderwalker Camden – Serpent Mound
Summer Solstice Celebration
Date: June 20, 2012
Location: Peebles
Contact: www.markthunderwalker.com
Mark Thunderwalker Camden
Canal Winchester Senior Citizens Program
Date: July 10, 2012 (12:30 p.m.)
Location: Canal Winchester
Contact: www.markthunderwalker.com
Mark Thunderwalker Camden – Lilyfest, Garden Stage
Date: July 13, 2012 (11:00 a.m.)
Location: Rockbridge
Contact: www.markthunderwalker.com
The Mark Camden Band – Art on the Square
Dates: July 21, 2012
Location: Urbana
Contact: www.markthunderwalker.com
SunWatch Flute and Art Festival
Dates: August 24-26, 2012
Location: Dayton
Contact: www.sunwatch.org
Mark Thunderwalker Camden – Art in the Park
Dates: September 8-9, 2012
Location: Kent
Contact: www.markthunderwalker.com
Mark Thunderwalker Camden – Backwoods Fest
Dates: September 14-16, 2012
Location: Thornville
Contact: www.markthunderwalker.com
Bill Miller – Via Vecchia Winery
Date: November 4, 2012 (2:00 p.m.)
Location: 485 South Front Street, Columbus
Contact: www.billmillerarts.com
Oregon
Geri LittleJohn
Wilshire United Methodist Native American Fellowship
Date: July 6, 2012 (7:30 p.m.)
Location: 3917 NE Shaver, Portland
Contact: www.wilshirenaf.org
Pennsylvania
Flute Haven Native Flute School
Dates: September 11-16, 2012
Location: Phoenixville
Contact: www.flutehaven.com
Clint Goss and SpiritGrass – Steel City Coffee House
Date: September 13, 2012 (7:00 p.m.)
Location: 203 Bridge Street, Phoenixville
Contact: www.steelcitycoffeehouse.com
R. Carlos Nakai and Peter Kater
Strand-Capitol Performing Arts Center
Date: March 23, 2013 (7:30 p.m.)
Location: 50 North George Street, York
Contact: www.mystrandcapitol.org
Rhode Island
Wind on the Bay – Traditional Celtic Flute Festival
Skip Healy, Artistic Director and Founder
Dates: October 5-7, 2012
Location: East Greenwich
Contact: www.windonthebay.com
Tennessee
Bill Miller – Holston Conference Gathering
Coker Creek Village
Date: September 15, 2012 (7:30 p.m.)
Location: 12528 Hwy 68, Tellico Plains
Contact: www.billmillerarts.com
Texas
R. Carlos Nakai, William Eaton, Will Clipman
Earth Rhythms’ 2012 Sounds of Spirit Concert Series
Date: June 23, 2012
Location: Dallas
Contact: www.rcarlosnakai.com
Cornell Kinderknecht and Sarah Reinke (cello)
Dallas Meditation Center
Date: July 13, 2012 (7:30 p.m.)
Location: 727 South Floyd Road, Richardson
Contact: www.cornellk.com
Cornell Kinderknecht and Jodi Roberts (Tibetan bowls)
Dallas Meditation Center
Date: August 10, 2012 (8:00 p.m.)
Location: 727 South Floyd Road, Richardson
Contact: www.cornellk.com
Cornell Kinderknecht –The Sound and the Meaning
Krama Yoga Center
Date: August 18, 2012 (9:00 a.m.)
Location: 2760 Trinity Mills Road, #120, Carrollton
Contact: www.cornellk.com

Cornell Kinderknecht – Unity Church
Date: August 19, 2012 (10:00 a.m.)
Location: 1650 Hughes Road, Grapevine
Contact: www.cornellk.com
Randy Granger – Rock Art Foundation Rendezvous Fundraiser
Date: October 13, 2012
Location: San Antonio
Contact: 1-888-762-5278
Cornell Kinderknecht – 20 th Annual Winter SolstiCelebration
Date: December 21, 2012
Location: Dallas
Contact: www.EarthRhythms.org; www.cornellk.com
Cornell Kinderknecht – Connection Tribute Band
Date: February 16, 2013
Location: Allen
Contact: www.connectionsband.net
Virginia
R. Carlos Nakai and Peter Kater - The American Theatre
Date: July 14, 2012
Location: Hampton
Contact: www.hamptonarts.net
R. Carlos Nakai and Peter Kater – Unity of Fairfax
Date: July 15, 2012 (7:30 p.m.)
Location: Hampton
Contact: www.unityoffairfax.org
Randy "Windtalker" Motz - House of Light Bookstore and Cafe
Date: September 22, 2012 (7:00 p.m)
Location: 13 East Main Street, Berryville
Contact: www.thehouseoflightstore.com
Randy "Windtalker" Motz - House of Light Bookstore and Cafe
Date: September 29, 2012 (7:00 p.m)
Location: 13 East Main Street, Berryville
Contact: www.thehouseoflightstore.com
Flute Fall-In at Camp Bethel
Dates: October 11-14, 2012
Location: Roanoke
Contact: www.potomacflutefestival.org
Washington
Flute Quest
Dates: August 17-19, 2012
Location: Salt Water Park, Des Moines
Contact: www.flutequest.com
Pacific Northwest Native American Flute Gathering
Dates: October 4-7, 2012
Location: Vashon Island, Puget Sound
Contact: 206-522-3423
Wisconsin
Peter Phippen – Sounds Like Summer Concert Series
Phoenix Park Amphitheater
Date: June 21, 2012 (6:00 p.m.)
Location: Eau Claire
Contact: 715-552-0457
Peter Phippen – Pathways of Hope
Wisconsin Institutes for Discovery
Date: June 28, 2012 (7:00 p.m.)
Location: 330 North Orchard Street, Madison
Contact: 608-935-5834
International Native American Flute Association
2012 Convention
Dates: July 18-22, 2012
Location: Eau Claire
Contact: www.inafa.org
Wade Fernandez – Rhinelander School of the Arts
Dates: July 23-27, 2012
Location: Rhinelander
Contact: www.wadefernandez.com
Wade Fernandez – Oneida Nation Arts Program
Dates: July 30 – August 3, 2012
Location: Oneida
Contact: www.wadefernandez.com
Wade Fernandez – Oneida Nation Arts Program
Dates: August 6-10, 2012
Location: Oneida
Contact: www.wadefernandez.com
Indian Summer Festival
Henry Maier Festival Park
Dates: September 7-9, 2012
Location: 200 North Harbor Drive, Milwaukee
Contact: www.indiansummer.org
Outside of the United States
Omar Faruk Tekbilek and Ensemble - Barcelona Teatre Grec
Date: July 26, 2012
Location: Barcelona, SPAIN
Contact: www.omarfaruktekbilek.com
Omar Faruk Tekbilek and Ensemble – Madrid Teatro Circo
Date: July 29, 2012
Location: Madrid, SPAIN
Contact: www.omarfaruktekbilek.com
G.S. Sachdev and Swapan Chaudhuri
Sivananda Ashram Yoga Camp
Date: August 18, 2012
Location: Val Morin, Quebec, CANADA
Contact: www.sivananda.org
IV World Flutes Festival
Dates: September 19-23, 2012
Location: Mendoza, ARGENTINA
Contact: www.worldflutesfestival.org
American Indians: 2010 Census Facts
5.2 million: As of the 2010 Census, this is the nation's population of
American Indians and Alaska Natives, including those of more
than one race. They make up 1.7 percent of the total population. Of
this total, 2.9 million were American Indian and Alaska Native
only, and 2.3 million were American Indian and Alaska Native in
combination with one or more other races.
565: Number of federally-recognized Indian tribes.
723,225: The American Indian and Alaska Native population in
California, followed by Oklahoma (482,760) and Arizona (353,386).

Fifth Annual
Yosemite Flute and Art Festival
September 21-23, 2012
Oakhurst, California
Minutes from the Gates of Yosemite National Park
* Flute & World Music Vendors *
* Open Mic Performances * Workshops *
Friday and Saturday Evening Concerts
World Music including World Flute & Percussion
www.yosemiteflutefest.com
or Call Rick Dunlap & Linda Angel (559) 641-5980

All New!
Moyo Drums
New Tunings! New Custom Paint!
Brand New * Moyo Midi Cathedral Drum in Cm pentatonic!
All New! Hand Drums, Blues Tuning, Chakra Set
Moyo Midi now available in Cm, Dm, Em, plus Dm Blues Tuning
Moyo Baby available in F#, Gm, Am, Bm, and high Cm Blues
Visit Our Website Today * visionhawkmusic.com
Rick Dunlap – Instrument Engineer
visionhawkmusic@gmail.com or (559) 641-5980