Flute

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The flute is a musical instrument of the woodwind family. Unlike other woodwind instruments, a flute is a reedless wind instrument that produces its sound from the flow of air against an edge, instead of using a reed.

A musician who plays the flute can be referred to as a flute player, a flautist, a flutist or even a fluter.

History

The flute appeared in different forms and locations around the world. A three-holed flute made from a mammoth tusk (from the Geißenklösterle cave in the German Swabian Alb and dated to 30,000 to 37,000 years ago) was discovered in 2004, and two flutes made from swans' bones excavated a decade earlier (from the same cave in Germany, dated to circa 36,000 years ago) are among the oldest known musical instruments. The flute has been dated to prehistoric times. A fragment of the femur of a juvenile cave bear, with two to four holes, found at Divje Babe in Slovenia and dated to about 43,100 years ago, may also be an early flute. The Bible, in Genesis 4:21, cites Jubal as being the "father of all those who play the ugab and the kinnor". The former Hebrew term refers to some wind instrument, or wind instruments in general, the latter to a stringed instrument, or stringed instruments in general. As such, Jubal is traditionally regarded as the inventor of the flute (a word used in some translations of this biblical passage). Some early flutes were made out of tibias (shin bones). Playable 9000-year-old Gudi (literally, "bone flute"), made from the wing bones of red-crowned cranes, with five to eight holes each, were excavated from a tomb in Jiahu in the Central Chinese province of Henan.

The earliest extant transverse flute is a chi (篪) flute discovered in the Tomb of Marquis Yi of Zeng at the Suizhou site, Hubei province, China. It dates from 433 BC, of the later Zhou Dynasty. It is fashioned of lacquered bamboo with closed ends and has five stops that are at the flute's side instead of the top. Chi flutes are mentioned in Shi Jing, compiled and edited by Confucius.

Western flutes

The pan flute was used in Greece from the 7th century BCE, and spread to other parts of Europe. Throughout the 10th, 12th and 13th centuries, transverse flutes were very uncommon in Europe, with the various fipple flutes being more prominent. The tin whistle (an Irish flute) first appeared in the 12th century, and the recorder in the 14th century. The first literary appearance of the transverse flute was made in 1285, but early on the instrument was only used in Germany and France.

Following the 16th century court music, concert flutes began appearing in chamber ensembles. These flutes were often tuned to the key of D, and used as the tenor voice. However, these flutes varied greatly in size and range. The recorder continued to be popular during the renaissance, but its use declined in the 18th century. The later half of the 18th century shows the first orchestras being formed, and the concert flute being a member thereof, featured in symphonies and concertos. Throughout the rest of the 18th century the interest in concert flutes increased, and peaked in the early half of the 1800s. In the 19th century, the ocarina was developed from the gemshorn, an instrument from the 16th century.

The 20th century saw a revival of the recorder, while the concert flute and tin whistle continued to be popular. The invention of plastics in the 20th century gave birth to the tonette, a fipple flute used in music education, but it soon fell out of use, replaced by plastic recorders.

Flute acoustics

A flute produces sound when a stream of air directed across a hole in the instrument bounces in and out of the hole.

The air stream across this hole creates a Bernoulli, or siphon, effect leading to a von Karman vortex street. This excites the air contained in the usually cylindrical resonant cavity within the flute. The player changes the pitch of the sound produced by opening and closing holes in the body of the instrument, thus changing the effective length of the resonator and its corresponding resonant frequency. By varying the air pressure, a flute player can also change the pitch of a note by causing the air in the flute to resonate at a harmonic other than the fundamental frequency without opening or closing any holes.

To be louder, a flute must use a larger resonator, a larger air stream, or increased air stream velocity. A flute's volume can generally be increased by making its resonator and tone holes larger. This is why a police whistle, a form of flute, is very wide for its pitch, and why a pipe organ can be far louder than a concert flute: a large organ pipe can contain several cubic feet of air, and its tone hole may be several inches wide, while a concert flute's air stream measures a fraction of an inch across.

The air stream must be directed at the correct angle and velocity, or else the air in the flute will not vibrate. In fippled or ducted flutes, a precisely formed and placed windway channel extrudes the air. In the organ, this air is supplied by a regulated blower.

In non-fipple flutes, the air stream is shaped and directed by the player's lips, called the embouchure. This allows the player a wide range of expression in pitch, volume, and timbre, especially in comparison to fipple/ducted flutes. However, it also makes an end blown flute or transverse flute considerably more difficult for a beginner to produce a full sound than a ducted flute, such as the recorder. Transverse and end-blown flutes also take more air to play, which requires deeper breathing and makes circular breathing a considerably trickier proposition.

Generally, the quality called timbre or "tone colour" varies because the flute can produce harmonics in different proportions or intensities. The tone color can be modified by changing the internal shape of the bore, such as the conical taper, or the diameter-to-length ratio. A harmonic is a frequency that is a whole number multiple of a lower register, or "fundamental" note of the flute. Generally the air stream is thinner (vibrating in more modes), faster (providing more energy to excite the air's resonance), and aimed across the hole less deeply (permitting a more shallow deflection of the air stream) in the production of higher harmonics or upper partials. To quote acoustician Arthur H. Benade, "The fundamental frequency (scale) is determined by the internal cubic volume, but the upper registers (harmonics) are determined by shape alone."

Head joint geometry appears particularly critical to acoustic performance and tone, but there is no clear consensus on a particular shape amongst manufacturers. Acoustic impedance of the embouchure hole appears the most critical parameter. Critical variables affecting this acoustic impedance include: chimney length (hole between lip-plate and head tube), chimney diameter, and radiuses or curvature of the ends of the chimney.

There is a belief that the timbre may also be affected by the material from which the instrument is made. For example, instruments made of wood are said to be less "bright than metal instruments. Different metals are also thought to influence the tone. However, a study in which professional players were blindfolded could find no significant differences between instruments made from a variety of different metals. In two different sets of blind listening, no instrument was correctly identified in a first listening, and in a second, only the silver instrument was identified. The study concluded that there was "no evidence that the wall material has any appreciable effect on the sound color or dynamic range of the instrument". Unfortunatelty, this study did not control for headjoint design, which is generally known to affect tone (see above). Controlled tone tests show that the tube mass does make a difference and therefore tube density and wall thickness will make a difference. Some feel that relatively small differences in shape are more important than differences in material, because the waves in the air couple only weakly to vibrations in the body. Wooden flutes usually have different shapes from metal instruments. For example, the junctions between the tone hole risers and the bore are usually sharper in wooden instruments, and these sharper edges have an effect on the sound.

Categories of flute

In its most basic form, a flute can be an open tube which is blown like a bottle. There are several broad classes of flutes. With most flutes, the musician blows directly across the edge of the mouthpiece. However, some flutes, such as the whistle, gemshorn, flageolet, recorder, tin whistle, tonette, fujara, and ocarina have a duct that directs the air onto the edge (an arrangement that is termed a "fipple"). These are known as fipple flutes. The fipple gives the instrument a distinct timbre which is different from non-fipple flutes and makes the instrument easier to play, but takes a degree of control away from the musician.

Another division is between side-blown (or transverse) flutes, such as the Western concert flute, piccolo, fife, dizi, and bansuri; and end-blown flutes, such as the ney, xiao, kaval, danso, shakuhachi, and quena. The player of a side-blown flute uses a hole on the side of the tube to produce a tone, instead of blowing on an end of the tube. End-blown flutes should not be confused with fipple flutes such as the recorder, which are also played vertically but have an internal duct to direct the air flow across the edge of the tone hole.

Flutes may be open at one or both ends. The ocarina, pan pipes, police whistle, and bosun's whistle are closed-ended. Open-ended flutes such as the concert flute and the recorder have more harmonics, and thus more flexibility for the player, and brighter timbres. An organ pipe may be either open or closed, depending on the sound desired.

Flutes can be played with several different air sources. Conventional flutes are blown with the mouth, although some cultures use nose flutes. The Flue pipes of Organs, which are acoustically similar to duct flutes, are blown by bellows or fans.

The Western concert flutes

The Western concert flute, a descendant of the 19th-Century German flute, is a transverse flute which is closed at the top. Near the top is the embouchure hole, across and into which the player blows. It has larger circular finger-holes than its baroque predecessors, designed to increase the instrument's dynamic range. Various combinations can be opened or closed by means of keys, to produce the different notes in its playing range. The note produced depends on which finger-holes are opened or closed and on how the flute is blown. There are two kinds of foot joints available for the concert flute: the standard C foot (shown above) or the longer B foot with an extra key extending the flute's range to B below middle C. There can also be a Bb below middle c foot joint added to the instrument. With the rare exception of the Kingma system, or custom-devised fingering systems, modern Western concert flutes conform to the Boehm system.

The standard concert flute is pitched in the key of C and has a range of 3 octaves starting from middle C (or one half-step lower with a B foot). This means that the concert flute is one of the highest common orchestral instruments, with the exception of the piccolo, which plays an octave higher. G alto and C bass flutes, pitched, respectively, a perfect fourth and an octave below the concert flute, are used occasionally. Parts are written for alto flute more frequently than for bass. Alto and bass flutes are considerably heavier than the normal C flute, making them more difficult to play for extended periods of time.

Other sizes of flute and piccolo are used from time to time. A rarer instrument of the modern pitching system is the treble G flute. Instruments made according to an older pitch standard, used principally in wind-band music, include Db piccolo, Eb soprano flute (the primary instrument, equivalent to today's concert C flute), F alto flute, and Bb bass flute (incidentally, the clarinet and brass families retain this orientation to a Bb, rather than C tonal centre).

The Indian Bamboo Flute

The Indian Bamboo Flute, one of the instruments of Indian classical music, developed independently of the Western flute. The Hindu god Krishna is traditionally considered a master of the instrument. Krishna's flute is called Bansi. The Indian flutes are very simple instruments when compared with their Western counterparts; they are made of bamboo and are keyless. The Indian concert flutes are available in standard pitches. In Carnatic Music, the pitches are referred by numbers such as 1(C), 1-1/2(C#), 2(D), 2-1/2(D#), 3(E), 4(F), 4-1/2(F#), 5(G), 5-1/2(G#), 6(A), 6-1/2(A#) & 7(B) (The above is assuming the tonic note is C). However, the pitch of a composition is itself not fixed and hence any of the flutes may be used for the concert (as long as the accompanying instruments, if any, are tuned appropriately) and is largely left to the personal preference of the artist.

Two main varieties of Indian flutes are currently used. The first, the Bansuri, has six finger holes and one blowing hole, and is used predominantly in Hindustani music, the music of Northern India. The second, the Venu or Pullanguzhal, has eight finger holes, and is played predominantly in Carnatic music, the music of Southern India. Presently, the 8-holed flute with cross-fingering technique, is common among many Carnatic flautists. This was introduced by the eminent flautist T. R. Mahalingam in the mid-20th Century. Prior to this, the South Indian flute had only seven finger holes, with the fingering standard developed by Sharaba Shastri of the Palladam school, at the beginning of the 20th Century.

Based on his research on Bharata Natya Shastra's Sarana Chatushtai, Avinash Balkrishna Patwardhan in 1998 developed a methodology to produce perfectly tuned flutes for the ten thatas currently present in Indian classical music.

The quality of the sound from the flute depends somewhat on the specific bamboo used to make it, and it is generally agreed that the best bamboo grows in the Nagarcoil area in South India.

Dvoyanka (Double Flute)

The dvoyanka is a double fipple block flute from western Bulgaria made of a single piece of wood, with finger holes drilled only in one of the two pipes. It is most frequently made of ash-wood, plum tree, pear tree, cornel or boxwood. The tune is played on the one pipe, which is accompanied by a drone from the other pipe. This kind of playing is similar by structure to music played on the zurni. Line-dances and lively melodies are frequently played on the dvoyanka. It was also a favorite instrument of shepherds, who directed their flocks by their playing, since sheep remember and recognize a melody in time. A shepherd could “teach” his flock to start from the pen towards the pasture at one melody, and to return to the village in the evening at another. The dvoyanka is similar to the dvojnica, an instrument typical for the regions of Central and Western Serbia and also Serbian regions across the river Drina, which are made and played somewhat differently from the dvoyanka.

Pinkillo

A pinkillo is a simple wind instrument found in Peru and Bolivia. It is a straight, end-blown flute, 30-40 cm in length, made from bamboo. It has a bright sound, recorder-like fingering, and can be played on a diatonic or chromatic scale.

Sring

The sring (also called blul) is a relatively small, end-blown flute with a nasal tone quality and the pitch of a piccolo, found in the Caucasus region of Eastern Armenia. It is made of wood or cane, usually with seven finger holes and one thumb hole, producing a diatonic scale. The sring is used by shepherds to play various signals and tunes connected with their work, and also lyrical love songs called chaban bayaty, as well as programmatic pieces. The sring is also used in combination with the def and the dohl to provide music for dancing. One Armenian musicologist believes the sring to be the most characteristic of national Armenian instruments.

Larchem-Soinari

“Soinari” is a kind of wind instrument that represents multirod flute. Soinari originally comes from the Western part of Georgia, the region of Samegrelo (where it is called “Larchemi”) and the region of Guria (Soinari). Georgian Soinari (and Larchemi) consists of six pipes of different length. Each pipe produces different sounds. The larchem-soinari is made of cane. The pipes are tied together with cord and bark. Six pipes are tied so that there are 2 basses in the middle, 2 ”leaders” on the right, 2 “first voices” on the left. The compass of the Larchemi (Soinari) is one-one and a half tones. Two pipes are blown at the same. Such blowing produces musical thirds. Practically, there is no principal difference between Megrelian Larchemi and Gurian Soinari. Gurian Soinari is comparatively smaller than Megrelian Larchemi. It is interesting to note that pipes of Larchemi and Soinari are arranged in the following way: longer pipes are placed in the middle of the instrument and on both sides of them pipes are arranged according the decreasing length. This form of construction is well-established in western Georgia. It is worth noting that this kind of design has no analogy among the known multirod pipes (which pipes are arranged consecutively, according to their length). As we mentioned, Soinari is made up of six reed pipes: the first pipe is considered to be the longest that produces deep sound. The second pipe is on the left side to it. It is shorter than the first one and produces a more high-pitched sound. The third pipe is on the right side (of ) the first one. It is shorter than the second pipe and produces more high-pitched sound. In the region of Guria, it plays the role of the third part and the melody begins from the sound (note) of this pipe. The fourth pipe is the pipe on the left side of the second one, is shorter than the third pipe and produces a more high-pitched sound. The fifth pipe is placed next to the third one. The sixth pipe is the last one on the left side of the instrument. It is the shortest one and produces the highest-pitched sound. The first longest pipe is acknowledged to be a chief pipe of the instrument. When played, Soinari is hold vertically, sound is reproduced by blowing into it. In both regions Samegrelo and Guria before using water was poured into the instrument’s pipes for about half an hour in order to get sweet and clear sounds. It seems to have been done for keeping the reed pipes from cracking. After this measure, Soinari emits clear and soft sounds. As usual, men play Larchemi and Soinari. Georgian Larchem-Soinari originally comes from shepherds’ being. In the region of Samegrelo Larchemi represents shepherds’ traditional instrument. That is why the repertoire of the instrument mainly consists of pastoral and dance melodies. Shepherds pastured their flock, by performing melodies on Larchemi. In Samegrelo, there exist three different melodies for pasturing sheep. The first melody is performed when taking flock to the grassland. The second is performed when taking it back and the third one is performed by a shepherd when pasturing flock. According to the evidence of shepherds, the flock grazed grass better under this melody. Thus, it was quite natural for shepherds to use Soinari, as it was directly connected with their work. Similar cases took place in the other regions of Georgia. In Samegrelo Larchemi was often used at weddings, feasts and on national holidays. In the region of Guria Soinari represented an alarm instrument. Hunters of different villages when hunting on marten often used it. It appears that in the region of Guria there were such skillful Soinari players that they could play a melody resembling nightingale’s song and sometimes birds also responded to that music. The construction of this instrument is connected with the rich tradition of performing polyphonic melodies and songs. At the State Ethnographic Museum of St. Petersburg, there is a wind musical instrument consisting of 21 reed pipes under the name of Larchemi (items #5345) the pipes of which are arranged according to their length.

The knowledge concerning the instrument’s design and performance handed down from fathers to sons. In this way the instrument was preserved in all regions of Georgia. Sometimes two or four Soinaris were joined when performing dance melodies. They were also played together with Larchemi, Daira and Svanetian Chianuri. The Soinari players in Guria and Samegrelo often competed with one another. In these competitions, the performer who would play longer was announced to be winner. The competition was often won by the performer who had a smaller instrument, as a smaller Soinari needs less breathing and movements that are physically easier to carry out. Soinari's right pipes produce the following notes: La, Do, and Mi; but the left three pipes Do, Re, Fa. According to the writer-ethnographist, Apolon Tsulukidze in the 80’s of the last century there were some people in Guria who played on Soinari made of seven reed pipes.

Lamzdeliai

Traditional lamzdeliai (pipes) are made of either bark or wood. The bark pipe (zieves lamzdelis) is made in the springtime of a willow, aspen or pine sprout. The bark is beaten on all sides, and twisted off of the wood. The blowing end is closed off with a stopper made from the wood, with one side cut off. At the place where the stopper ends, a whistle hole is cut into the bark, and one end of the hole is bent slightly inwards. Three to six finger holes are cut in the pipe. Wooden pipes are made of ash or linden wood. The bark is removed, and the instrument is hollowed out by burning, drilling or carving. The blowing hole, whistle hole and finger holes are made in the same way as for the bark pipes. Lamzdeliai are usually tuned to a diatonic major scale. The tembre is soft and breathy, but when the instrument is blown too strongly, the sound becomes sharp and shrill. Lamzdeliai are used to play improvised herding melodies—raliavimai, ridovimai, and tirliavimai. Herders calmed their animals with these melodies, or they imitated the sounds of nature and birds. Other tunes played on the pipes were sutartines, songs, and contemporary dances (polka, waltz, mazurka, quadrille, and march). The instrument was popular during night herding, at young people’s gatherings, and weddings, and is known throughout the territory of Lithuania. The lumzdelis is a xood-wind instrument widely spread in lithuania. Most often it was made and played by shepherds at a night watch of horses at grass. On festive occasions and other folk entertainments even elderly people blew the lumzdelis. The lumzdelis was made of broom or willow bark and wood. The bark lumzdelis was usually made in spring from broom. Due to the natural shrinkage of bark they were short-lived. The wooden lumzdelis was made of a trunk of ash-tree burning out or boring an oblong hole of 1.5 cm. In diameter. The length of the lumzdelis varies from 20 to 30 cm. In the upper side of the lumzdelis from 3 to 8 holes are burned out or cut. While playing they are covered and uncovered with the fingers of both hands. The timbre of the lumzdelis is soft reminding that of the piccolo. The low tones sound sonewhat faint, the high ones are loud and sharp. Each hole of the lumzdelis produces two tones – a ground tone and its octave ehat is produced by overblowing. The compass of the instrument is from c1 to f 4. The folk melodies of the lumzdelis players abound in various adornments and embelishments.

The daudytė

In North-East Lithuania—near the towns of Biržai and Vabalininkas—around 2001 the instruments called daudytės were widely used. They were straight wooden tubes, 140–230 cm. long, on which two players used to perform sutartinės. Daudytės differ from horns because each of them can produce not one(!!) but 4–5 sounds. Like trumpets, daudytės were made of brass. An brass-tree trunk was cut in such a way that two thirds of its length were only 3–4 cm. thick and the other end would gradually expand. Then the piece of metal was split in two and a hole gouged with the diameter of 2 cm. at the beginning and 10–12 cm. at the end. The wall was 1–1.5 cm. thick, and, when put together, both sides were fastened with birch bark. The mouthpiece was cut at the thin end.

Double pipes or "Parnyia dudki"

Are also referred in Belarus as "Parniouka", "Parnyaty", "Dvojni", "Dvzajchatki", "Dudki", "Pasvisceli","Hoosli", "Dvajchatyia Hoosli". They are made of two pipes of different length. The upper end of each pipe is plugged by a circular insert, with 1/5 of it cut off - "cork" ("shpoont" or "sapoh"). The space between "cork" and the outside wall of pipe makes a narrow crack -"halasnik" fpor blowing air. There is an alongate whistle cut in the pipe's wall at it's upper end. The bottom end has three holes: 2 at the front - "perabirki" ("finger runs")for finger playing and one - "klapan" ("valve") - in the back. The bottom outlet holes are tied with rope, the tension of which allows to tune two pipes into harmony.

Mey

Mey is a Turkish folk instrument of the wind type. It consists of three parts . Ana Gövde (main part), Kamış (reed) and Kıskaç (clip). The clipis mounted to the end of the reed and can be pushed up and down on the reedand thus enabling tuning by providing one note variation in the sound. May which is made of wood from plum walnut, beech etc. has sound distance of about one octave. It has a total of eight melody keys with with seeven on topand one underneath.There are three types of mey : Cura Mey, Orta Mey and Ana Mey. Mey is called Balaban in Azerbeijan.

See also

References

Bibliography

• Theobald Boehm, The Flute and Flute-Playing (Dover Publications, 1964)
• Buchanan, Donna A. 2001. “Bulgaria §II: Traditional Music, 2: Characteristics of Pre-Socialist Musical Culture, 1800–1944, (iii): Instruments”. The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell. London: Macmillan.
• Crane, Frederick. 1972. Extant Medieval Musical Instruments: A Provisional Catalogue by Types. Iowa City: University of Iowa Press. ISBN 0-87745-022-6
• Galway, James. 1982. Flute. Yehudi Menuhin Music Guides. London: Macdonald. ISBN 0356047113 (cloth); ISBN 0356047121 (pbk.) New York: Schirmer Books. ISBN 002871380X Reprinted 1990, London: Kahn & Averill London: Khan & Averill ISBN 1871082137
• Komitas, Vardapet. 1994. Grakan nshkhark' Komitas Vardapeti beghun grch'ēn: npast mē Komitas Vardapeti srbadasman harts'in, edited by Abel Oghlukian. Montreal: Ganatahayots' Aṛajnordarani "K'ristonēakan Usman ew Astuatsabanut'ean Kedron".
• Pahlevanian, Alina. 2001. “Armenia §I: Folk Music, 3: Epics”. The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell. London: Macmillan.
• Phelan, James, The Complete Guide to the Flute and Piccolo (Burkart-Phelan, Inc., 2004)
• Putnik, Edwin. 1970. The Art of Flute Playing. Evanston, Illinois: Summy-Birchard Inc. Revised edition 1973, Princeton, New Jersey and Evanston, Illinois. ISBN 0874870771
• Toff, Nancy. 1985. The Flute Book: A Complete Guide for Students and Performers. New York: Charles's Scribners Sons. ISBN 0684182416 Newton Abbot: David & Charles. ISBN 0715387715 Second Edition 1996, New York: Oxford University Press. ISBN 0195105028
• Wye, Trevor. 1988. Proper Flute Playing: A Companion to the Practice Books. London: Novello. ISBN: 0711984654

External links

• FluteInfo Contains fingering charts, performance articles, free sheet music and other musical information.
• Collection Albums/Songs of Flute on the World (World of Instrumental Music - WOIM.NET).
• http://www.chiffandfipple.com Chiff & Fipple: Very large website devoted to tin whistles
• http://chiffboard.mati.ca Chiffboard: Large and busy forums on flutes, tin whistles and related folk instruments
• http://www.umutrehberi.com Mystical Flutes Reed The Turkish Classical Music
• http://www.uyaneygozlerim.com Uyan Ey Gözlerim Ottoman Classic Music and Sultans
• Vidly.net This video shows how a flute is manufactured.
• Extensive technical and historical information on flutes at Mcgee Flutes
• Laurel Zucker Contains excerpts from all major flute compositions and several major flutists.

• The Dayton C. Miller Flute Collection has many pictures of flutes through the ages, among other useful information.
• FluteHistory.com
• Portadown Defenders Flute Band - A marching flute band from County Armagh, Northern Ireland
• Flutes.tk
• The Galway Network, home page of the popular Sir James Galway
• Larry Krantz Flute Pages Wide range of flute related information contributed by many professional flute players. Access to information about FLUTE - email discussion group.
• Flautistico.com Flute related content in Spanish.
• Jennifer Cluff flute articles Extensive list of articles on hard-to-find flute topics.
• Cantilena Records A flute recording company featuring most of the major literature for flute, downloads of the free Kuhlau flute duos, information on how to find recordings of some major compositions for flute and flutists. (June 2007: This link currently redirects to Laurel Zucker)
• The Woodwind Fingering Guide - A large, easy-to-navigate listing of flute fingerings
• The Virtual Flute An easy to search database of Boehm flute alternate fingering and multiphonic fingering - An extensive work by the School of Physics, University of New South Wales, Sydney Australia
• Indian Flutes
• Ron Korb World Music Instruments and Flute Gallery Profiles and sketches of Chinese flutes, Japanese flutes, Celtic flutes, and flutes from the Americas from world renowned flutist Ron Korb's collection of over 100 flutes and woodwind instruments.
• Bansuriflute.com
• Photo of a Pinkillo
• http://www.hangebi.ge
• http://ausis.gf.vu.lt/eka/instrum/aeroph.html
• http://www.folkinstruments.lt/eng/puciamieji.htm#ragai
• http://www.belarusguide.com/culture1/music/Instruments.html

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