Review: Butch Hall Native-American-style flutes

For years now I’ve told anyone who will listen how much I love my Butch Hall Native-American-style flute in F-sharp minor. I recently bought it a little friend in G minor, and realized it is high time I did a proper review of these lovely instruments.

Hello, beautiful.
Hello, beautiful.

The modern instrument commonly referred to as the “Native American Flute” is related to a certain flute tradition associated with the Lakota people; of course labeling anything as “Native American” mistakenly implies that it is common to all the groups lumped together as “Native American.” As an additional complication name-wise, there are certain legal requirements regarding who can sell products under the designation “Native American,” so some flutemakers, for example, must sell their wares as “Native-American-style.” In general, flutes of this type, regardless of seller, are a contemporary take on a traditional instrument, often made with modern tools and processes and tweaked to suit contemporary Western-world pitch standards. This suits me just fine—I’m interested in the instrument’s history, but as a working musician I like an instrument that I can buy affordably and play in a variety of situations.

If you are in the market for an instrument of this kind, be very careful about souvenir-type flutes, including some popular makes sold on the internet and in souvenir shops as “professional” instruments. If you want an instrument that plays beautifully, easily, and in tune, and is genuinely suited to professional playing situations, I strongly recommend that you send money to Butch Hall immediately. These are real-deal musician-quality flutes, and the amount of money involved is shockingly small.

Hall’s “Concert” flutes, of which I now happily own two, have a clean and simple design; if you require elaborate carving and clichéd turquoise-and-silver inlays, then there are plenty of other makers who seem to consider those things to be major priorities. Hall’s flutes are not ornate, but they are made with meticulous attention to detail, and really quite stunning, especially under close inspection.

Get the bags, too. Don’t be a cheapskate.

The flutes have a deep, resonant tone, with articulation that is clear and crisp without being overly chirpy. I have tried flutes by many other makers and find nearly all of them to sound thin and whistle-y by comparison. These aren’t loud instruments, but they speak with authority, and besides, microphones love them. Bring one of these to your recording session and be a hero.

The fingering system is really well-designed; these respond well to the minor-pentatonic fingerings (well, technically a minor-sounding mode of a major pentatonic scale) that seem to be a de facto standard for modern NAFs. However, Hall’s flutes are also well-suited to cross-fingering and can produce more or less a chromatic scale if you do a little half-holing for the lowest few notes. (A fingering chart is included with purchase.) Still, you will need more than one flute if you want to be serious about playing in multiple keys.

Tuning is very good, but remember that as with any whistle/fipple-type instrument (such as recorders or pennywhistles), blowing harder or softer does affect the pitch. My F-sharp flute (a 2005 model) plays quite well in tune at A=440Hz with a moderate amount of air; the G (brand new) can take more aggressive blowing.

Here are some quick clips. These are totally unprocessed but the flutes sound especially amazing with a sort of canyon-esque echo.

F-sharp: 

G: 

If you’re shopping for your first flute, I recommend that you get either the F-sharp, which seems to me to be the “standard” size so far as there is one, or perhaps the G-minor, which Hall indicates is his “personal flute of choice,” or, preferably, both. Mine are red cedar, which is the least-expensive option, and they smell so heavenly that I simply must insist that you choose the same. You can get the pair for a tenth or less of what one nice clarinet would cost you.

And if all that isn’t enough, Mr. and Mrs. Hall are super nice; I got a handwritten thank-you note with my most recent purchase, which also shipped very fast and was packed with astonishing care. (Even the plastic beads on the flute bags were separately bubble-wrapped.)

Verdict: Highly recommended!

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    I was pleased to hear from woodwind player and composer Gene Kaplan, who sent me a copy of his new duets books, Duos for Doublers. These, as far as I know, are a one-of-a-kind set of duets for two woodwind doublers, with the first part including flute, clarinet, and alto saxophone, and the second part including flute, clarinet, and tenor saxophone. The instruments are used in various combinations, with each player playing at least two instruments on each duet (with one exception, where the second part is tenor-only on one of the duets).

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    The style and the difficulty level of the duets varies. They are probably not suitable for those just starting out on their doubles (yet), as they do not shy away from bugaboos like the flute’s third octave, the clarinet break, and the saxophone’s below-the-staff notes.

    I think a real benefit of these is that they do require quick instrument switches in real time and without losing your place (something that’s much easier to “fudge” with, say, solo etudes), in the company of someone who presumably will be understanding if you need to back up and try again. These duets would be great for getting together with another woodwind doubler for a little friendly challenge.

    I’m on record as saying that saxophone-flute-clarinet-“only” doubling is a somewhat dated approach, and that modern doublers need to take the double reeds seriously, as well as auxiliary instruments in each woodwind family, plus probably some “world” woodwinds. These duets are still useful for working one commonly-used subset of those skills. (Gene is a double reed player himself, and acknowledges that he didn’t include them here in order to make these duets playable for more woodwind doublers.)

    The set costs $30 at the time of this review (shipped free in the continental US). They are self-published, with paper covers and a clear plastic sheet over the front. The plastic comb binding is exactly what is needed for a book of sheet music to lay flat and stay open (something that some large sheet music publishers get wrong).

    There are a couple of issues with layout that make these a little bit of a hassle to play, but which also probably provide just the kind of training that aspiring woodwind doublers need for real-life gig situations. The first is (some) impractical page turns, sometimes in places where the only option is to photocopy a page or to drop out for a couple of bars. Some happen during short rests, and some of those also coincide with an instrument change. The second issue is that each of the books includes only one part. My preference for duet playing is one book with both parts on the page, score-style. (This can also potentially mitigate the page turn problem, if you have four hands available instead of two.)

    Here’s a quick video demo of “Acapulco Nights” by me and my less-handsome twin brother.

    I’ve added these to my list of compositions for multiple-woodwind instrumentalists. Let me know if there’s anything else on your radar that should be included.

    Get Duos for Doublers from Gene Kaplan’s website.

     

  • Review: Hercules DS538B woodwind stand

    After my recent glorious victory in the Saxquest trivia contest, I had a gift certificate burning a hole in my pocket and I decided to get a new stand to hold my saxophones and perhaps some other woodwinds in my office and on gigs.

    I had been tempted previously by SaxRax stands, which I continue to hear good things about but haven’t been able to try out seriously in person. I find it difficult on SaxRax’s website to find out exactly what products they are currently making; I had to use their contact form and wait for a response to determine that their single alto and tenor stands can no longer be joined with a special connector, and the double flute-clarinet peg is no longer made (though some old stock are apparently still available). I had hoped to buy a single saxophone stand and eventually build onto it with a second, but now you have to buy a combo alto-tenor stand, and that is currently out of my price range.

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  • Review: PiezoBarrel “Wood” clarinet pickup

    I’m a little late to the party here after Chris Mothersole’s recent article in The Clarinet, but I recently acquired a “PiezoBarrel” wind instrument pickup and wanted to share my experience.

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    I have experimented with electronics previously using the Little Jake pickup, on bassoon, bass clarinet, and English horn. In those cases installation involved drilling a small hole into a metal bocal or neck, and soldering on a small adapter to accept the Little Jake. I considered pursuing the same approach with the clarinet, but had some apprehensions about drilling into a wooden barrel.

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    Installation was as simple as putting the barrel on my clarinet, screwing in the pickup, and plugging in the cable.

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  • Required recordings, spring 2011

    Once again it’s time for required recordings.

    This semester, I’m having my each of my students add a good chamber music recording to their library. The students required to buy these recordings are technically enrolled in applied lessons, which means they study solo repertoire, although I do also coach some of them in chamber music. But even those whose degree requirements don’t specify chamber group participation ought to have at least the most passing of acquaintances with chamber music for their instrument.

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    New Century Saxophone Quartet: Standards

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    Repertoire: Singelee Quartet No. 1, Desenclos Quartet, del Borgo Quartet, Mintzer Quartet No. 1, Torke July

  • Review: “Double Troubles” by Paul Saunders

    A few months ago I wrote a review of So You Want to Play in Shows…?, a book of woodwind doubling etudes by Paul Saunders. Recently Paul sent me Double Troublesa new collection of etudes. Like So You Want, the new volume includes a piano part plus access to downloadable backing tracks. As I said in the previous review:

    This is an elegant solution to one of the problems of woodwind doubling etudes: how do you enforce quick instrument switches? … Saunders’s book, used with the recordings, provides a simple way to work out quick switches alone in a practice room.

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7 Comments

  1. I could not agree more with your review. I too have the F# in red cedar and it is a lovely and wonderful work of art and instrument.

  2. Have to agree with you on Butch Hall Flutes. A few weeks ago I purchased my first Butch Hall flute, my 4th flute and 4th maker. I am ordering another Butch Hall Flute today, the other makers just do not come close.

  3. I am a total and absolute Butch Hall fan! I have wanted to learn to the NAF for a number of years,having accidentally stumble across a Carlos Nakai track while searching iHeartRadio. I fell instantly in love with the NAF. I purchased my first and I only NAF while in Sedona AZ for memorial day weekend 2016, but what was so wonderful about this was that the shop I purchased in was owned by a Carlos Nakai student who was so gracious with me and the flute I purchased was a Bit Hall Le Mita Cola GM!!! I knew nothing about NAF but subsequent to my purchase I have done some research and have come to the conclusion that my Butch Hall was am absolute perfect purchase FOR ME. However I must say in all candor that I am NOT a Butch Hall customer……I am a BUTCH HALL FAN!!!!! I will be making all subsequent NAF purchases from Both Hall. Got to dance with one that “brung” you! Many thanks to Butch and Laura Hall for a superior product and service!!!!!

  4. I stopped in a store in Sedona, AZ (Bonanza) and they had a nice collection of NA flutes. I purchased an Am. The store owner (Clara) gave me a quick lesson and away I went. I really appreciate the simple design and nice quality of Butch Hall flutes. They are very affordable. Plus they are bored and not made from two halves. I went back in a couple days and had to have the Am. Again I stopped back in a few weeks to say hello and should have never tried the F# concert. LOL. I don’t know which one I like best.

    1. My comment is to Wade, who bought his from a store in Sedona, AZ. My F#, Bruce Hall flute #44, is made in two halves that is barely visible. I bought mine in 1998, so he might have changed since then, but it is definitely two halves. I have been satisfied with mine!

  5. I bought a butch hall flute at a resale shop. It says “little horse” #629 ’99 and his name. Can you tell me anything about it.?

  6. I have a nice New World Flute collection (somewhere around 300) and I can say, without any reservation that Butch Hall Flutes are wonderful instruments. Though his flutes have changed over the years (from a split body construction to a single piece of wood bored down the center), they continue to be a great value for the purchase price. From a play-ability perspective, I feel they stack up well against any of the NAF makers on the market and from a cost perspective, they are very hard to beat.

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