Volume 2, 2012 - International Native American Flute Association

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.