Should you have any questions, comments or suggestions, or care to discuss building a custom flute, please don't hesitate to contact me at QuerenciaFlutes@aol.com or 310.379.6764.
About The Builder
I
have been playing the Native-American style flute for about 11 years, and
began doing so professionally about 4 years ago. Initially, I would
practice in empty parking structures as they provide an almost ideal resonance
to the voicing of the flute. My work is now done with amplification and digital
sound processing, as I'm accompanied by congas, a kit drummer, guitar, and the
occasional didgeridoo. Having purchased many flutes over the years, I found
that none gave me the voicing and volume necessary to compete with the wall of
sound created by the drums ... so I began building my own. Specifically, I
began creating large bore, short barrel flutes, experimenting with ten to
fifteen different woods, in search of clarity, volume, and beauty. Creating an
instrument with these characteristics ... out of a stick ... has become a
passion, and I have come to appreciate and understand the unique attributes of
every wood I use. Encouragement from family, friends, builders and collectors
has prompted me to continue on this path.
Richard Halliburton is a Native American-style flute builder/performer, and member of The International Native American Flute Association. INAFA. (www.worldflutes.org)
Click here to see flutes for sale.
Each flute is crafted,
shaped, and tuned by hand, one at a time, requiring between 20 and 70
hours, depending on the type of wood, the instrument design, and its
willingness to become a flute. I use a waterproofed split bore method, crafting
the flue of the instrument in a Woodlands style, rather than that typical of a
Plains style of flute. Specifically, the flue is cut into the flute bore
itself, versus the fetish block. I find this provides more latitude for the
block, and from a performance standpoint, reduces the risk of compromising the
sound if the block is knocked out of exact alignment. Any mistakes made with
this method can render the entire flute as firewood, but advantages of clarity
and convenience, outweigh those risks.
I build both five-hole and six-hole flutes, tuned to the pentatonic scale, modes one and four. It has been said that if the world had a particular scale, this would be it. This scale is found in China, Tibet, India, Africa, and Russia, as well as in folk music originating in Europe and the United States. Additionally it is the scale of choice among Native Americans. Upon request, a flute can be constructed and tuned to any scale desired.
Tuning of each flute is done after a clear fundamental note has been established. Beginning at the foot, or far end of the flute, each fingering hole is burned into the flute bore, ultimately providing a one octave range. Although electronically tuned to exacting concert pitch, it should be noted that both ambient temperature and humidity will create slight variations in these tuning characteristics.
Generally, my flutes will consist of at least two, and as many as five different complementary woods. Once the fundamental note has been established, and thereafter electronically tuned, the finish will be applied. This consists of a number of coats of a shellac/alcohol mix, alternated with sanding using up to 12000 grit paper and steel wool. Thereafter, four more coats of shellac are applied and rubbed out, finishing the surface with a pure Chinese Tung Oil/beeswax paste.
Stone inlay varies from flute to flute. Unless there is a specific request, I usually pick stones I find complement specific woods, such as Turquoise, Paua Shell, Tiger's Eye, Hematite, Pyrite, Red Lace Agate, Carnelian, Lapis, Fire Opal and Mother of Pearl.
Having
been a mildly successful fine artist for about 30 years, each work was
initiated with a plan to try something new and inventive. Following an exhibit
in Pasadena, California, an art critic for the Los Angeles Times was motivated
to note, "Mr. Halliburton is still experimenting. To that end, those who view
his work may not know it's his." He then characterized the work as "sentimental
surrealism." I thereafter figured out that creative predictability was a
conflict in terms, and that experimentation is a key element to the creative
process. A painting is what it is. It is hung on a wall. I find flutebuilding
provides about six different opportunities for creative experimentation. From
selection of woods, to placement of grain, to inlay, fetish, pyrographics, and
ultimately sound. It can still be hung on a wall, but unlike a painting ...
it's a stick that makes music. In crafting flutes, the only predictability I
strive for is quality in my experiments.
About
twenty years ago, I carved "Mi Querencia" into a weathered piece of oak, and
nailed it to the front of my home. It is Spanish, relatively obscure, and not
easily defined. Loosely, it describes a place in your heart, a place that
generates a sense of safety and security, but a place that is in fact, neither
safe, nor secure. An example occurs during the last few minutes of a bullfight.
The bull, after being prodded and taunted, will trot around the ring, and then
just stop. He will stand still there in the ring, at that spot, because for no
particular reason, he feels safe, and protected. Likewise, cattle, when allowed
to roam and graze, will pick a spot that gives them a "sense" of security. In
reality, the chosen spot is no more secure than anywhere else, but it "feels"
right.
I found that playing flutes, and building flutes ... just feels right. It generates a sense of calm, security, and harmony from somewhere inside. Basically, it's a sense ... that makes no sense. I strive to share this with you, which makes perfect sense.
Rich Halliburton