Chiff and fipple how to make keys flute
The modern European ocarina dates back to the 19th century, when Giuseppe Donati from Budrio, a town near Bologna, Italy, transformed the ocarina from a toy, which played only a few notes, into a more comprehensive instrument (known as the first "classical" ocarina). The Runik ocarina is a Neolithic flute-like wind instrument, and is the earliest prehistoric musical instrument ever recorded in Kosovo. One of the oldest ocarinas found in Europe is from Runik, Kosovo. The ocarina went on to become popular in European communities as a toy instrument. Both the Mayans and Aztecs produced versions of the ocarina, but it was the Aztecs who brought to Europe the song and dance that accompanied the ocarina. Different expeditions to Mesoamerica, including the one conducted by Cortés, resulted in the introduction of the ocarina to the courts of Europe. In Japan, the traditional ocarina is known as the tsuchibue (kanji: 土笛 literally "earthen flute"), whereas "ocarina" comes from the Italian for "little goose". The ocarina has similar features to the Xun (塤), another important Chinese instrument (but is different in that the ocarina uses an internal duct, whereas the Xun is blown across the outer edge). For the Chinese, the instrument played an important role in their long history of song and dance. Ocarina-type instruments have been of particular importance in Chinese and Mesoamerican cultures. The ocarina belongs to a very old family of instruments, believed to date back over 12,000 years. 1955 Fluteville village was raised by flood and subsequent Government requisition of the area for a flood control project.ĪDDRESS: 1829-37 shop along Naugatuck river.Giuseppe Donati, Italian inventor of the modern ocarina, with his work Hopkins, Asa ( b Northfield / CT 2 February 1779 d New Haven / CT 27October 1838)įrom c1810 a successful clock-maker, developing water-powered machines for mass production methods, using interchangeable parts 1829 established WWI workshop at a locality neat Litchfield, building a dam and factory on the Naugatuck river, which 1830-75 became known as 'Fluteville', where large quantities of flute, clarinet, later fife, flageolet were produced 1832 in partnership with J.M Camp 1837 retirement of Hopkins 1837-39 Camp proprietor, now as Camp and Hopkins 1839-67 Firth & Hall proprietors bought by J.A. The New Langwill index gives the following entry: I'd like to see one of the original Camp/Hopkins flutes in my hands though before I'd be absolutely sure. This flute again points to the Hopkins/Camp workshop with the shape of the key touches on the short F and low C and C# identical to the McKenna flute.Īgain note the similarity of the squarish blockwork.Īlthough of course it is impossible to state definitively that the McKenna flute is a flute from this workshop, at the moment it's certainly the best guess, and I have a gut feeling that it's correct.
Here's a sample using a keyless flute I was working on yesterday: The great thing about the RTTATuner is that it samples the notes as you actually play a tune, many times per second, and then gives you a read-out which shows how the pitch of each note (octaves are distinguished) averages out over the time played. This process can be repeated several times with no better result, because the basic error is that the player is blowing the note differently ( commonly with a different blowing pressure) when tuning than when playing. With the flute, pitch is such a volatile thing, so easily changed by temperature, humidity, blowing pressure, and embouchure, that to simply blow a note into a tuner and declare yourself in tune is not really an option.Ĭommonly, in traditional music circles anyway, the player asks for an A, ( not the best option as a pitch centre for Irish music at the best of times), tunes to it, and then discover that when they begin to play that they are still not in tune.
The danger with this is something that I've harped on about in workshops for years. There are already many good tuner apps, such as Cleartune, which I use, or used pretty much all the time, but they only allow you to measure the pitch of one note at a time. What! Two posts only days apart! But I just had to let people know about the new tuning app which Dan Gordon has designed for iPhone, and which I've been playing with for the last few days.