Hand Carved Native American Plains Style Shortened Cherry Dragonfly Flute (#G)

Description

Hand Carved Native American Plains Style Shortened Cherry Dragonfly Flute
Please see the rest of my flutes offered at:http://www.ebay.com/usr/rbryhn01
My flutes are made
with as little electricity as possible. They are hand carved to present a historically minded woodwind instrument that is made to last a lifetime, or make the perfect gift.
I am currently celebrating the sale of 1,500 flutes. I want to thank all my customers here, and in the past, for helping me along the way.
The Flute Fundamental Note is:  Sharp “G” I am the manufacturer, and I test the flute right before I ship it to insure it's quality.
Comes complete with: Flute-Complete, Papers (not shown) Shipping Bag (not shown) and Wall Hanger (shown)
Made from Cherry wood this is a well constructed historically accurate representation. a higher pitched note like a G is attuned to the birds, and other occupants of the air. While a Sharp F is an animal flute A sharp F, is also attuned to the ground, and the elementals that are part of the Earth.
Short flutes like this are harder to tune than a full size flute because all the tolerances are smaller. Where a full size flute my be forgiving over a 1/4 of an inch, a shorter flute may have only a 1/32
nd
of an inch to find the sweet spot in. With this flute I am happy to say it came out exactly as I had hoped, and am proud to pass the finished flute on to my most discerning customers.
This flute is literally the smallest flute I make, and is great for making a friend of even the angriest of birds.
The profile of this flute shows a curve to it that is called a dogleg. The curvature of the dogleg style is accomplished only by a hand carving method. The dogleg is hard to photograph, but has a unique feel when playing. The Byrd is tied so that it can be moved to find the "sweet spot”.
Smaller flute than a full size flute, this type of bird flute was designed to allow the hands to be approximately 3 inches closer than my normal full size flute. This allows the outside fingers to rotate in quite a bit, allowing those who have a concern about reaching the outer holes to reach then easily. Even though it has been shortened, there has been no sacrifice to sound. Its clarity is exceptional with the ease of playing that my customers are used to. It is a flute with a voice that sounds good both inside and out. The flute itself is 16 inches long, and would be perfect as a traveling flute This offering plays with exceptional clarity, with a slight breath, or by blowing and gives only the purest of notes. There is no wind of the flute playing in the flutes I offer, it’s made with a “plains” tuner designed to allow for extended playing, and not steal your breath. The wood grain of this flute is excellent, but it also shows its quality in pure performance. Etched with a special non-electric process I'm proud to offer a flute that is pleasing to the eye, and has such a wonderful voice.
The Flute Fundamental Note is: Sharp “G” I am the manufacturer, and I test the flute right before I ship it to insure the quality of the flute.
Comes complete with: Flute-Complete, Wall Mount (shown), Papers (not shown) Shipping Bag (not shown)
This is what
some of my customers have written to me about the flutes they have purchased:
“I’m so glad I took a chance and bought one of your flutes. I have many flutes and this is easily one of the best I have. A beautifully crafted flute tuned perfectly and such a lovely voice”
Woodgate2931, (Reprinted with permission)
When I started looking at flutes, I knew nothing about them other than I wanted to learn how to play.  I have now learned about the making of flutes in the modern sense of the word. Randy makes his flutes the old-fashioned way. He tunes his flutes the old-fashioned way. He actually carves his flutes and you should see the primitive tools he uses to burn his breathtakingly gorgeous  designs in  the body of the flute. The process he goes through from beginning to end  is unbelievable. You have no idea how many hours it takes him to craft just one flute.
I could go on and on and on.  Just know this, if you are looking for a flute, made with love, dedication and devotion to tradition, look no further.  These are more than flutes. These are honorable works of art. They sound great, look great and they are crafted by a great man. That's about as good as it gets and the great energy that is housed within the flutes is something I have no trouble tapping into.
Barbara -
MNOTW, (Reprinted with permission)
Over the years I have acquired many different Native American flutes, from several different sellers. However Randy Bryhn is the seller from whom I bought the MOST flutes. In fact these days I buy exclusively from him. This is because his flutes are THE most authentic Native Flutes I have come across. I can see that each one of his flutes are made with a lot of love and care, in the true style of the olden days. Each flute is made to the highest performance quality and are also very durable. And to top it all off, he is an extremely nice guy and a generous teacher to boot!!
Dr. A Akram  Queensland
Australia
, (Reprinted with permission)
I purchased a love flute and really love it. The design already shows that it was crafted with much care and love for detail.
The branding design and the handcrafted details make it truly unique.
It came in a very secure packaging so nothing could happen to it.
It took me a while to learn to play but the reason for this is that this is actually the first instrument I ever attempted to learn. The Seller gave excellent instructions on how to learn to play the native American flute which was a great help. If even I can learn to play it, anybody can.
Now that I can play the flute better, I can really enjoy its beautiful sound. It has a very spiritual sound, not too loud as if the sound is created in harmony with the wood of the flute.
I hope this review helps anybody to make a decision. I absolutely love my flute and play it regularly. It has a very calming influence on me.
dmuenchmeyerarcroyal.ie
(Reprinted with permission)
Hand Carved and Hand Sanded.
Holes are made by Wood Evaporation Technique.
Clear-Coat on the Flutes are FDA approved Salad Bowl Finish.
Tuners are the rare type “plains” design in the body of the flute style.
All Flutes are made with kiln dried wood.
All etching is done by non-electric wood evaporation technique
I have been asked if I use stock photos-
No, I take pictures of every flute for posting, I believe people should really see the flute they are buying.
Other Stuff
The
design of my flutes comes from the Blackfoot tribe, and my mentor Dan, who I am very honored to call my friend.
In making the flutes I use a table saw, and a router to form the kits. In cases of extreme cross graining I may resort to mechanical sanding. However, my goal is to always use as little electricity as possible. All holes, etchings, and the tuners are created using wood evaporation techniques, a method that is as old as the tribes that originated it.
NOTE:
If shipping fees are less than quoted I refund the difference.
International Buyers – Please Note:
Import duties, taxes, and charges are not included in the item price or shipping cost. These charges are the buyer's responsibility.
Please check with your country's customs office to determine what these additional costs will be prior to bidding or buying.
Also I use the Global Shipping Program to save my customers money, The flute ships directly from my house to the forwarding hub at E-Bay.
Feathers a Good Idea on your flute…or not?
When is it a good time to have feathers, and when would it be better not to have feathers? Feathers are a great addition to a flute. Most Medicine Flutes and Council Flutes were made to have feathers on them. They would look strange to me if they didn’t have feathers. However, there are times when it’s better to consider what you will be doing with the flute after you purchase it. A flute that has feathers on it would be a great conversation maker; it draws attention, and begs to be talked about. If you are going in front of people this is the type of flute I would use, or at least open with. If you have a collection it would make an excellent centerpiece for your collection.
But sometimes feathers can just get in the way. If you record, and while you play the flute is moved a lot the wooden balls that hold the feathers in could make noise…not good on a soundtrack. Also if you take your flutes with you into the woods, where it might get set on the ground, once again this might not be a good application. However, I have one that I’ve had since the beginning from my mentor. It has white feathers on it, and I would say I have pulled it out of its travel bag about two hundred times. The feathers are still intact, and look good even after many years of use. I like to have feathers on flutes when I go on the road, and when I show it to other people. It adds a new dimension to the flute and always is the center of attention when I draw it out.
A Special Note from Randy:
I was asked why I started making flutes. Why do I make them by hand, instead of lathe like most other flute makers do? Why do I use the historic “Plains” style tuner, instead of putting it in the Byrd, or using a spacer? Why bother using an FDA approved clear-coat, and non-toxic paint? Why make it in the historic style using hand measurements from the true-hole instead of using the Flute-O-Matic on-line like most others do? Why don’t I tune my flutes like most everyone else? Finally, and above all else, since these flutes are hand whittled, and sanded, why don’t’ I charge hundreds of dollars for my finished work, as most others do?
These are good questions, and they deserve an answer. I would suggest to anyone, before you buy a flute from me that research into others flutes may prove to be enlightening. There are many ways to make flutes, and each flute-maker believes that the way he does it is the proper way. It is not my way to try to change anyone else’s mind, only to make the flutes as I have been taught is the proper way, and to not change the way I do it because to me this is a historical, spiritual item, that provides a link for us to glimpse into a distant past, and connect with those who have gone before.
Why I Started Making Flutes
I started making flutes because one day the flute I had purchased from a good friend of mine quit working. I was already hooked, and felt a need to play every few days. Instead of looking up my friend, who was a flute-maker, I decided to look on-line for a flute like I had. I found many flutes, but I couldn’t find one in the style I was used to, and the type that my friend and mentor made. Flutes that I did find were literally priced so high, that I couldn’t afford them on what I make, so I decided to try and make one on my own. Using my original flute I tried over and over to get a working flute, but a squeak now and then was the best of my efforts. Since my friend and I talk periodically he found out what I was trying to do, and offered to teach me the way he and his family had been making flutes for generations, since his children were not interested in learning the ancient craft. Under his guidance it didn’t take very long for me to understand how to craft a flute, using techniques that were very time consuming by today’s standards. Soon after, my friend bought a wood lathe, and began making them as most other flute-makers do because of the beginnings carpel. Years of flute making had taken its toll, but he had trained someone to carry on in his stead. My goal now is to provide a quality made flute, at a down to earth price so everyone can enjoy the sound of their own flute. Also to make it in my own style with as many historic attributes as possible.
Making Them By Hand Instead of on a Lathe.
Making the flutes by hand allows me to make a connection with each flute. I am not in a hurry to make these flutes, and I am always searching for the perfect flute. By making the flutes the way I do, I am able to skip an interesting part. Many flute-makers use a tool on-line called the Flute-O-Matic, (do a word search, its there). I had been making flutes for about two years before I knew it was possible to tune them. Why was this so? As my mentor explained, if I make a flute the right way it doesn’t need to be tuned, just the length of the flute conditioned to create the fundamental note. Because of this I save a lot of time in making my flutes.
Why do I use the “Plains” style Tuner?
The “Plains style tuner is one of the hardest tuners to install, and is one of the leading causes of “scrap”. The tuner is what some would refer to as the sound trough under the Byrd. Although the way I make it causes a lot of scrap, (if I do it wrong there’s no going back, and about two out of ten never make it past the tuner stage), but I think the plains tuner sounds better than other tuners of later design. Did you catch that?
The “plains” tuner was taught to me as the original tuner that was first introduced. I am historically minded on some points, I don’t install the finger-holes with a drill, I use wood evaporation. That way the wood is cauterized, and sealed from splitting. That is the way I was first taught to make them, and so it is with the tuner. If I change the way I make them, then to me it just wouldn’t be honoring the gift that was given to me long ago.
Why don’t I use Shellac, Varnish, Polyurethane, or some of the other clear-coats on
the market?
I use Salad Bowl Finish on all my flutes, made by the folks at General Finishes. Its FDA approved, which means it’s non-carcinogenic. That means a lot to me, many of the people I sell these flutes to are my friends. With the technology we have at hand today I feel a responsibility to use only the best product for a finish coat. Some flute makers do use other types of non-carcinogenic mediums, such as some types of wax, and mineral oil. However, this type of finish needs to be reapplied after a time, and not many customers are told that. Shellac, Varnish, and Polyurethane have been argued to me that once they are dried they become inert. I have been in contact with the companies that make these products, although they believe they are inert when exposed to the weather, they have never done animal testing to determine if they are safe. I know that when these chemicals are exposed to the amylase in saliva there is a digestive juice that will break down these chemicals over time, exposing the player to an un-needed amount of toxic chemicals. How do I know this? I am a fully trained Bio-science Research
Lab. Assistant Technician with a degree. Each one of my flutes has five coats of non-toxic FDA approved clear-coat to provide a very nice looking sheen. The clear-coat applied that way should last for the life of the flute, and each one is crafted in the hope of becoming a family heirloom.
A word about the sound intensity of flutes.
It is thought that the first Native American Style Flutes were used as courting flutes. As such they were intended for the use of a brave courting his intended. These flutes were made to have special sound qualities and notes that were very special. These flutes were called “One Fire Flutes” and were intended to be heard within the range of one fire, though with harder pressure they could be made to play louder. There were also other flutes that process a lot more air, and I personally think that the sound quality falls off the harder you need to blow on a flute. Because of the needs of myself, and my customers I have designed all the all the flutes I make to be of the one-fire tuner type.
I wanted to let my customers know that unless I specify otherwise all the flutes I create are considered one fire flutes, and they play with as little as an exhale.
A Special Note to Other Flute-Makers....
Let Us Not Forget:
While speaking with another flute maker I've felt that it would be a good thing to put this forth so that all could share….
When I learned to make my flutes, I learned from a Blackfoot elder. This is a leader of his clan. This is what he, and his ancestors considered to be a proper type of flute making. This only is representative of that particular clan, and should not be taken as a lone representation of the whole tribe. Just because one clan of the Blackfoot made a flute in this way it's entirely possible that a flute made not to many miles away would look very different.
I once saw a collection of flutes from different tribes, one of the
Cheyenne
, one of the Cherokee, one of the
Shawnee
and so on. The announcement placard said these were typical examples of the different style produced by the tribes. I felt this was not good, as each Brave who created his flute, whether it was for courting, council business or just to play around the fire would above all else try to individualize his flute.
Today there are some, who put the sound channel in the Bird, (or as I was told to call it, “the wood block”). There are some who add a piece of shim stock to the roost or add a sounding edge to the tuner. I've even heard that a blade is not required, to make the pitch that the maker looks for.
Though the recipe I've been taught matches none of these, who am I to say that these are not proper. We must each of us find our own way, and cherish what we have been taught and learned. For each of us making, and playing flutes has been a life changing event that has caused us to change our lives and shape something that we, each of us hold precious.
At one time any Brave who was thinking of taking a bride was by tradition, to make his courting flute (or trade or for one). Sometimes the brave would work diligently on this for quite a while and produce a squeaky stick, but the thought was there. This person would then use his knowledge and pass it on to his son so that it may be passed from generation to generation.
The way that I was taught to tune a flute involves no math to figure out where the finger holes go. Is this proper or period style? Using European style equations to figure where the finger holes go: is this right or wrong? I really feel it doesn't matter; we are not in a competition, or trying to outdo the others. I feel if we are, we have lost sight of what we're really searching for, a connection with the past, a feeling of being one with what has gone before.
I create, and sell some flutes but I don't do this primarily for the money, it is a necessary byproduct to keep me making the flutes that I love. In the long run it does not matter as long as the way that I do it is sacred to me.
Let us come together as keepers of a sacred knowledge that we have been honored with.
Let us never forget it is the knowledge passed on from those before us that we are to
honor the ancestors with our creations, and always to give an offering in remembrance.
Randy Bryhn