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to the
Anasazi Dream
Flute
by
Mark Purtill
What we do know about Anasazi flutes that make them intriguing is that
the scale pattern marked by the soundholes on the flute was consistent among
the flutes found in the Four Corners area. That indicates that the scale was a
standard to be adhered to, not just a personal expression of sound. It suggests
to me that there might have been some call and response playing, and some
traditional tunes played among the people. In the area of pure speculation, the
high and clear upper registers also hint at the possibility of using the flutes as a
warning or lookout signal alerting the people to invading tribes.
The original material used for the Anasazi flutes was harvested from box
elder trees during the season when the tree sent out shoots or “suckers” from its
roots. Growing several feet high, the suckers were cut when the pithy interior
of the shoot was soft enough to either rasp out or burn out, creating a hollow
tube. Soundholes were either burnt or drilled and some flutes indicate that the
1
©Mark Purtill, 2008, all rights reserved
player placed the left hand on the bottom holes rather than the top holes as
most of us do today. The actual embouchure, or mouth formation, is unknown.
There were not any sharply chamfered edges on the blowing end, as there are
on modern versions. It is also possible that the flute was held out to one side,
transversly. Since the Anasazi were not a tall people, it is probable that the
player stood while playing.
All of the Anasazi Dream flutes are tuned close to a concert pitch of
A = 440 hz. There is some slight variation among the flutes but it is of no
importance if you plan to use the flute as a solo meditation instrument. If you
are playing with a tunable stringed instrument, (harp, guitar, cello, etc.) it is
also easy to adjust the tuning. In displaying the traditional notation, I have
chosen to represent the actual pitches for a few reasons:
1. If you wish to pick out a tune (or have someone else play it for you) on a
standard instrument like the piano, you will not have to transpose.
2. The range of the instrument fits comfortably on one staff.
3. If you are a composer, knowing the actual pitch of an instrument makes
things much easier.
4. These notes should also be available on any other maker’s flutes, not just
the Anasazi Dream flute.
5. If a flute is pitched higher or lower by a half-step or so, you can transpose
for the accopaniment instrument and still read your part.
2
©Mark Purtill, 2008, all rights reserved
I recommend that the beginner to the Anasazi dream flute follow the
instructions in this manual and not be afraid to experiment or modify anything
that helps create a beautiful, flowing sound. although I conclude the guide
with some music in standard notation, the real joy of this flute is in the
improvisational explorations that “playing from the heart” elicits. Relax, take
your mind out of our present time and enjoy the beauty of sound that can be
found on this flute.
After reaching a level of success with the Anasazi Dream Flute, I
encourage players to seek out the artists and craftsmen of wooden instruments
and try their versions of the Anasazi flute. My respect for the true artisans in this
field is boundless, and we should all support them.
3
©Mark Purtill, 2008, all rights reserved
Embouchure and Playing Position
I always ask a potential player to imagine those days as a child when we
would finish off an empty soda bottle and blow across the rim to make that
hollow little "toot" that resulted. While playing the Anasazi Dream flute is
not exactly the same, we have at one time or another used some of the
same muscles to create a flow of air to produce sound.
The object is to guide the breath with your upper lip muscles, curving
them slightly inward and blowing across the angled edge of the
mouthpiece (see Pictures 1 & 2). Although every mouth is different, we all
have the ability (with a little practice) to channel the airstream.
Begin by holding the flute with the left hand covering the top three holes. Bring the
bottom of the flute up to your lower lip while narrowing down the muscles of your upper
lip. Start a breath of air down the tube of the flute while raising or lowering the angle of
the flute until you hear and feel the clearest response. Do not be discouraged if you do
not get a note immediately, it is a different feel from the standard Native american flute.
When you do get a tone, note if it has a "fuzzy" or "raspy" sound. If so, try focusing the
upper lip muscles again to direct the airstream. Many people often become slightly dizzy
after several attempts, so pace yourself and lower the flute from your mouth, walk around
a little and try again. After getting the sound focused, add the bottom three holes with the
right hand and try alternating between those two notes to get a feel for the spacing and
tone quality.
I have found that it is not necessary to use your tongue as an articulation aid as we do in
recorders and Native American flutes. 4
©Mark Purtill, 2008, all rights reserved
% $$ #! !
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Basic Modal
Basic Anasazi FluteScale
Modal Scale
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"!
" "! # "!
% #! !
1 3 1 5 3 ^ 51 ~^3 *1~5 *3^# "!5~1 *^3 ~51 *"!^3 ~5 *^ ~ "!"*
% #! ! # "! "! "!
"
5 ^ ~ 1 * 3 5 ^ ~ *1 3 5 ^ ~ 1* 3 5 ^ ~ 1* 3 5 ^
The above scale will help you become familiar with the characteristic sound of the Anasazi flute. Notice that the scale
does not utilize every fingerhole in order from bottom to top. It is a 5-note (pentatonic) scale: A, B, C#, E F#, A.
The octave A (measure 6) needs a slight increase in wind pressure to sound the note. Releasing the top hole helps keep it
in tune. The F# (measure 5) on some flutes is sometimes helped by also covering the bottom hole, but is not always
necessary.
& &
) ((
Basic Scale Melody
" #! #! #! #
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$ "! ! " #! #! #! #'$ "!
# #
1) 3 5 ^11 1~33 3*1 55& 53 ^^^^5 ~~~^1***~3 *51 ^3 , ~51 -*^3 1~ 5113* ^335 ~5^ * ~^ *~~ *
! " #! #! # #'$ " #! +* #!
#! + #
5
Extended Scale Pattern
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"! "! "
! # "! !
"
1 3 51 3^ 5~ ^* ~ !4 * ( 1 3 &5 1^ 3~ 5* ^& ~ *
A B C C# E
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#
%
* *
OB OB
1 3 5 ^ 1 ~ 3* 1 5 3^ 5~ ^* ~ *
C# E A
OB OB OB
The above scale adds a few more finger positions and extends the range out past the first octave. Notes
marked with an asterisk (*) mean that sometimes closing the bottom hole is necessary to stay in tune. Notes
marked with "OB" indicate overblowing, which is a narrowing of the lip and an increase in the wind
pressure going through the tube. The last three notes are quite a challenge at first. It is easier to try them
while outside (since the increased pressure results in high volume) before you learn to control it. Spend more
time on the lower notes first.
%%%
Minor Exotic scale pattern with F natural M. Purtill
' &
F
"! "# # #
$ " $# $# " $# % $# # "# # #
$ " $#
'
%%% 7 1 3 715 3^ ~5 *4^1 ~(31 1* 5343 5^( ^~1 ~*3 7*15 ^3 ~5 *4^ ~(
$# " $# % $# # "!
Exotic Scale: Adding the fingering for F natural and playing
Shenandoah
(((
' % # #
Trad. American Folk Song arr. Mark Purtill
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(((
1 31 1 3533 51^5 ^3 ^~ ~5 ~** ^** 1~ 34* *5 ( ^ 1 ~ 3 * 5 ^ ~1 * 3 5 ^ ~ *
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" # "# "$ "!
" ""# "# "#
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$ "* "$ ""$
3 5 (^ ( 1~1 3*3 155 3^^ 5~1~ ^**3 ~ 51* ^31 ~53 *5^ ^~ ~* * 1 1 1 3 33 5 5 ^ ^^ ~~ ~** *
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,+
,
I thought it particularly fitting that an American folk song rests so well on the oldest of North
American instruments. This now brings me to the subject of playing recognizable melodies
on the Anasazi flute. My take on it is that while improvisation and "playing from the heart"
is a perfectly valid way to go on this instrument, the occasional folk song or snippet of a
classical tune helps me to find new ways to approach the flute. Some of the tunes you might
find include: I Saw Mommy Kissing Santa Claus*, The Way We Were, Tu-ra-lu-ra-lu-ra (An
Irish Lullaby). I was able to explore the range and fingerings that led me to better
improvisations on my own. It also never hurts to play a familiar tune to the uninitiated,
which seems to validate the instrument as "legitimate".
7
Now a little classical music, from the "New World "
Symphony, on an ancient New World instrument.
*
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# $ "# $% &
Adagio (+56)
1, - - - 3 5 ^ ~ 1* 3 1 5 3^ 5~ *^ ~ *
$% & '
! ! ! & ! ! ! ! (
"'! "$% "!
' ""$% )(
)
"# $% &
* * * *
! "#
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"
---
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1 (
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!
,
---
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1(1 3 5 ^ 1 ~ 13*1 3531 155^13 3^~35 51~*5 ^*3^ ~5~ *^* ~ *
OB OB OB OB
*
This takes a bit of effort to keep it going, but it is an expressive melody that helps you to
develop phrasing and breath control. The higher notes give good practice on changing
the wind pressure. Once again, I've added diagrams sparingly. Look for patterns of
repeated notes.
8
Now What?
When you start to feel that you are getting a consistent sound quality from your flute, try
to use some simple techniques to develop your improvisations:
1. Use repeating patterns of short note phrases, playing louder, then softer.
2. Get a friend to play a drum (or record yourself playing a drum beat), and
3. Start playing on a different note than the root and try ending the
Mark Purtill
September, 2008