Enchanted Journeys

Todd Chaplin

Description

Learning to play the Native American Style Flute? Did you buy a flute and found it came with inadequate instruction? Have you tried numerous other books, DVDs, or YouTube videos, but found them all confusing, limited or outdated? Are you looking for a product that brings it all together in a step-by-step way?Learn to play with Enchanted Journeys ePub - The Essential Guide for the Native American Style Flute: the world's most recent publication for the Native American Style Flute. This comprehensive product brings together all the tools the beginning or the advancing player requires in one package, elegantly recreating the acclaimed paperback book, with multiple additional e-features to optimize learning on your tablet, e-reader or laptop. Enchanted Journeys ePub provides detailed, easy-to-follow instruction on topics including:Native American Style Flute HistoryThe Basics of PlayingHow to Care for your FluteRhythm for FluteScalesMelodies & Songs (with specially created flute-specific musical notation)Techniques & EmbellishmentsHow to Play with OthersImprovisationDrone Flute as well a Mayan Temple Flute playingAnd much more! Includes full access to the Enchanted Journeys online interactive e-Learning Media Support Centre - featuring video and audio tutorials, the model performance music library and more! Purchase of Enchanted Journeys ePub also activates your lifetime license to personally contact flute master craftsman and teacher Todd Chaplin of Southern Cross Flutes to request instructional video tutorials individually recorded to answer your questions and advance your learning on any aspect of Native American Style Flute playing! all via the Enchanted Journeys Facebook Forum.For the most up-to-date, comprehensive, easy-to-follow, full-access multi-media supported Native American Style Flute instructional e-book, look no further than Enchanted Journeys ePub - The Essential Guide for the Native American Style Flute.

Informations

• Publié par: Saraswati Publishing NZ
• Date de parution: 26 janvier 2015
• Nombre de lectures: 0
• EAN13: 9780473308810
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

Enchanted Journeys: The Essential Guide For The Native American Style Flute
Published by Saraswati Publishing NZ
Book design by Todd Chaplin
Photography by Matt Hunt
Flute fonts by Clint Goss
First Edition, published 2014
Copyright © 2014 Southern Cross Flutes LTD
All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher.
ISBN 978-0-473-30881-0
 
This book is dedicated to my teachers Matt Shooting Star and Guillermo Martinez for their generosity.
With thanks to my teachers, my editors Simon Delahunt and Naomi Knight, contributions and feedback from Clint Goss, to Matt Hunt photography, videography by Warren Butcher, and my loving and supportive Aly.
 




Conte nts
Enchanted Journeys: The Essential Guide For The Native American Style Flute
Overture
How To Play Along using This Book
The Native American Style Flute: Beginning
Origins
Know Thy Flute
Breathing With Your Flute
Troubleshooting
Your First Scale – The Basic Scale
Your Next Steps With The Basic Scale
Basic Scale Practice – New Finger Pattern
Introducing Rhythm & Note Duration
Practicing Intervals
Flute Tuning
Flute Note Fingering Chart
Flute Care
Beyond The Basics: Advancing
Techniques & Embellishments
Scales For The Flute
Blossoming As A Player
Improvisation
Playing With Others
Song Structure
Healing With Flutes
Music For Flutes
The Drone Flute
Origins
Know Thy Drone Flute
Drone Flute Playing
Mayan Temple Flute
Origins
Know Thy Mayan Temple Flute
Your First Melody
Next Steps With Your First Melody
Advancing With The Mayan Temple Flute
Mayan Temple Flute Care
Mayan Temple Flute Tuning
Find Out More
Recommended NASF Solo Artists & Groups
References
Appendices
Posture
Stretches
Using Technology
Learn To Read Nakai Tablature
Catalogue
Southern Cross Flutes Online


Overture
My journey with the Native American Style Flute began in South Korea, 6000 miles away from my homeland of Aotearoa New Zealand, and 6000 miles away from the homeland of the Native American Flute on Turtle Island – the North American continent.
During those early months in South Korea, for reasons I still don’t know, a friend gifted me a CD to listen to. After an initial listen I loaded it onto my mp3 player and it never left my side. It was a haunting music that sent shivers up my spine, as I had never before heard the soft sound of wind traveling through wood. While my friends were listening to popular folk bands from Canada, I was alone listening to the spacious melodies created by the flute. We bonded, this music and I, as I walked the streets going from teaching job to teaching job, as I bounced along on the subway in crammed isolation, and as I traveled into the mountains during my free time. It was a step out of the busyness of my working world, and for the next four years that flute music continued to sooth and relax me.
I remember a poignant moment in Seoul, South Korea: the rush of cars within the towering concrete jungle competes with the bustle of food vendors selling hot food to warm the crowds coming home from work or school; I press through this swirling milieu and pass on to a woodland park and hill-side, hoping to escape from the urban intensity. I follow a slim forest path as it meanders towards the small Buddhist temple overlooking the city. I plug in my mp3 player, sit back on the stone temple stoop, and slip into the tranquil smell of sweet incense and the soulful sounds of the flute.
A few more albums came my way during the next years on the road, Carlos R. Nakai, Mary Youngblood, and Lawrence Laughing filled my mp3 player. From South Korea, back to New Zealand, and on to Australia, every spare moment I had was spent listening to the sound of the Native American Style Flute. In Australia during the winter of 2007, while working at an inspiring outdoor education facility, a new fire kindled in me as I finally decided to purchase my own Native American Style Flute. The instrument was waiting for me when I returned to New Zealand, and I vividly recall the evening I took my first breath with the flute. Four years of listening ceaselessly to the music opened into a flood of expression that flowed through me and my new flute. I took to it naturally, and while family and friends looked sideways at my latest fascination, I could only see life through the enchanting lens of the wooden flute.
Later, in the summer of 2007/8, I became bogged down in a demanding job that precluded time with the flute. This I couldn’t bear; I decided it was time to embark on a deeper journey that would bring me closer to understanding myself and what I wanted to experience from life – with the flute as my guide. This realization led me to action, and soon enough I was living in the remote Indian Himalayas, with no distractions, only fascinations that would inspire flute-playing and a sharing of music. There I lived for a year, engrossed in music and the heart-space that it evoked, perfectly content in my meditation and yoga studies. One more special flute came to me while living in India, and this new flute and I were inseparable. Hour after hour were spent sitting on the Himalayan hillsides or inside the Krishna temple, as I was drawn deeper and closer to a part of me that I hadn’t known before – my soul was given new voice through the flute. Naturally I never wanted this time to end, but a travel visa of course expires, and as one door closes, so another opens.
It was the summer of 2009, I was home in Christchurch, New Zealand, and the memories of India were still fresh in my heart on the day that I met Matt Shooting Star, a flute craftsman from Australia who was traveling in New Zealand. I invited Matt to stay with my family while in Christchurch. That summer day in 2009 Matt mentioned to me that he was looking for a flute maker’s apprentice – even though I didn’t know the first thing about woodcraft, or even how to use a power tool, I couldn’t refuse such an auspicious offer. I felt that once again the flute was helping to guide my journey. Matt became my first flute-craft mentor, and I lived and worked with him as he shared his knowledge and skills of flute crafting. The months passed quickly and there was so much new knowledge to absorb. After a time I was drawn to travel to North America. I spoke to Matt about this and he recommended I contact a flute-maker in California, Guillermo Martinez, master craftsman and teacher.
Before making my way to Guillermo, I explored parts of America that I had dreamt of visiting, and I was so grateful to meet Mary Youngblood and Lawrence Laughing, two artists that were featured on The Indian Road, that very first album that I was gifted while in South Korea. Mary’s flute-playing had inspired me for many years, and I would often go to sleep at night with her songs on my mind. I attended Mary Youngblood’s concert at the Georgetown Nature Fest, and then her evening concert at the Georgetown Community Hall. The following morning I spent time with Mary in a one-on-one lesson, learning some of her unique flute-playing skills and sharing with her the songs I had been playing. About four months later, back in Georgetown, I was scheduled to appear on the volunteer radio station, having met one of the announcers during the Nature Fest months before and arranging an interview for the future. Arriving in the station’s car park I drifted past a man who for some reason felt familiar – as if I was supposed to be meeting him but didn’t yet know it. I very quickly found out it was Lawrence Laughing, the man whose song “Eagle come pray for me” had quietened my mind during those challenging years in South Korea. There I was, in Georgetown again, meeting another artist from The Indian Road. Lawrence and I were able to interview together on the radio that afternoon, and later that evening, along with musician Mignon Geli, we performed live at a nearby art gallery. Georgetown, California, holds a special place in my heart, as it connected me with several extremely influential people in my life – it felt like an orchestration of destiny unfolding in this small mining town.
After my first trip to Georgetown, I met up with Guillermo Martinez and deepened my apprenticeship as a flute-maker. For six months I slept above his workshop and spent my days devoted to learning more about the craft of the flute. Guillermo would watch with attentive eyes and offer advice when needed, gently showing me the techniques and spirit of crafting various flutes and drums as he himself had been taught, as well as letting me in on adaptions and innovations he himself had created to continue the evolution of the craft. With Guillermo’s blessing I left his home to pursue my journeys in America. Once again my travel visa came to an end, and I returned to New Zealand. I departed with pangs of sadness about leaving this land of fabulous synchronicities, as I was coming back home to an uncertain future, and, more significantly, to where the song of the Native American Style Flute remained largely unknown.
Having returned home from my North American peregrinations, I was challenged by the highly competitive application process to train and teach in New Zealand primary schools. While I successfully attained my teaching qualification, the doorway of professional employment on this career path remained closed to me. I was jobless and uncertain of why I had returned to New Zealand. Then it dawned on me: since coming home there had been a huge interest in the flutes I had been playing and crafting, and numerous people were enquiring as to how they could get hold of a flute of their own. I realized there was a des