TEMPERATURE AND BAMBOO, WOOD, AND BONE FLUTES

 Musical instruments, in general, are designed to be played at temperatures ranging from 20°C to 24°C, and this includes native instruments as well. In this article, we will discuss bamboo, a preferred material for the construction of native flutes due to its unique vibration.

Bamboo is a highly temperature-sensitive material. Bamboo flutes are designed to be played at the temperatures mentioned above. Bamboo tends to lower its factory tuning by half a step when exposed to cold climates, and conversely, it raises its factory tuning by half a step when exposed to extremely hot climates.

 

Therefore, those who play street music in cities with extreme climates should take this variable into account when selecting the original tuning of their bamboo flutes. In cold climates, if you aim to achieve a tuning of 440Hz, it is recommended to play with a flute whose factory tuning for temperatures of 20°C to 24°C is 445Hz, as the tuning tends to drop by half a step in the cold. In the case of extremely hot climates, the recommendation is the opposite. It is advisable to play with flutes manufactured at 435Hz to achieve a tuning of 440Hz.

 

Generally, the climate does not affect wood flutes in the same way, as their tuning remains unaffected. However, extreme temperature changes can cause cracks in some woods. Woods such as ebony, guayacan, jacaranda, among others, are quite resistant to these changes.

 

Temperature does not play a role in altering the tuning of bone-made quenas. However, in cold climates, temperature fluctuations between the exterior and the interior of the flute when it is being played can lead to cracks in the bone. Therefore, it is recommended to play the quena in a controlled temperature environment.

THE QUENA

QUENA

The quena (hispanicized spelling of Quechua qina,^[1] sometimes also written kena in English) is the traditional flute of the Andes. Traditionally made of cane or wood, it has 6 finger holes and one thumb hole, and is open on both ends or the bottom is half-closed (choked). To produce sound, the player closes the top end of the pipe with the flesh between the chin and lower lip, and blows a stream of air downward, along the axis of the pipe, over an elliptical notch cut into the end. It is normally in the key of G, with G4 being the lowest note (all holes covered). It produces a very "textured" and "dark" timbre because of the length-to-bore ratio of about 16 to 20 (subsequently causing difficulty in the upper register), which is very unlike the tone of the Western concert flute with bore ratio about 38.

The quenacho (also "kenacho" in English) is a greater, lower-toned version of the quena and made the same way. It is in the key of D, with D4 being the lowest note, a perfect fourth lower than the quena. It produces a very "rich" timbre because of the length-to-bore ratio of about 25, paradoxically brighter by comparison to the quena.

Quena is mostly used in traditional Andean music. In the 1960s and 1970s the quena was used by several Nueva Canción musicians, this use was in most cases for particular songs and not as a standard instrument but some groups such as Illapu and virtuoso player Facio Santillan have used it regularly. In the 1980s and 1990s some post-Nueva Canción rock groups have also incorporated the quena in some of their songs; notably Soda Stereo in Cuando Pase el Temblor and Los Enanitos Verdes in Lamento Boliviano. The quena is also relatively common in World music. Quenas are usually played in pairs, in harmony. In Peru, one sees white quenas made from the leg-bone of the condor.