Instructions for using FluteSheet

This spreadsheet will allow you to make the calculations for making a block flute in the Native American
designed to provide the dimensions for a 6-hole, mode 1&4 minor pentatonic scale flute with the flue in th
flute. The flute is made in two parts with a router, and then glued together. The TSH or true sound hole is
It is usually 7/32" long or less, and the width is up to 2/3 the width of the main bore. The flue is cut into t
the flute, and it is usually about 1/32" deep and the same width as the TSH. The block that forms the top
flat, and may have a chimney around the TSH or not. Other details about crafting a flute can be found in v
reference materials, and are beyond the scope of this spreadsheet.

Each spreadsheet is composed of two sections. The first section is for initial calculations of the dimension
blanks which are the two parts of the flute that are routed out the same way. First, you chose the key of th
want to make. Do this by clicking on the blue box under the words "Key of Fundamental". An arrow wil
you can drop down a list of flutes to select from. For instance a common flute is "F# above middle C", al
F#4. Then you fill in the other blue boxes including what size router bit you want to use, the thickness of
the flute, the flue depth and width, dimensions of the TSH, and the size of the plug, slow air chamber and
hole. There are then three options for calculating the bore of the flute. You can choose to calculate the bo
the length/bore ratio (e.g., 18,) the length/bore squared ratio (e.g., 24) or a round bore. If you choose one o
two, you must adjust the bore by making an oval bore. This is done by setting the depth of the routed cha
depth is calculated for you for both the indicated L/B and the L/B squared ratios. It is best to choose a rou
will give you a bore that is close to round, or that has a bore height to width ratio close to or greater than 1
choose to make a round bore, this section will tell you what the L/B ratio and L/B squared ratios are, give
bit and other dimensions you have entered. You can then construct the flute blanks by making them the in
length, width and thickness, and then routing the bore to the indicated depth. After constructing the sound
and glue-up, tune the flute to the fundamental you have chosen by gradually shortening the foot end of the
you get to the proper fundamental note.

The second section is for placement of the playing holes after the bore is constructed and measured. It is i
of the first section, so you first have to choose the fundamental note again. You can use this section for an
even a piece of bamboo. You take the measurements and enter them into the blue boxes again. You don't
measure the TSH or the SAC. Just measure the actual length (from the plug to the foot end of the flute) an
the bore width and height. The bore can be round or oval. Then measure the wall thickness, and enter this
thickness. Then enter the wall thickness in each of the blue boxes for the thickness at the holes, if it differ
thickness already entered. Next enter a diameter for each of the holes. Start with the same diameter for ea
usually about 5/16" or 3/8". The holes are numbered from 1 to 6, starting at the hole closest to the foot of
the notes shown. You will then see the measurements for each hole from the foot to the center of the hole
in decimal inches and in inches plus fractions of an inch. You will also see the spacing between each of th
finger spacing shows the spacing between the chosen hole and the hole below it. At this point, you can m
adjustments by changing each hole diameter. This will affect the spacing between the holes. Keep makin
until the spacing is relatively even and the holes are not too far apart or too close together. The holes shou
different in size either. This is a trial and error method. In addition, you can affect the spacing of the hole
changing the wall thickness at individual holes if you can't get a satisfactory combination otherwise. Onc
your measurements, mark them on the flute body measuring from the foot for each hole, and proceed to tu
by drilling or burning the holes. You should start smaller than the calculated hole size, and gradually enla
you get to the right note. The hole size should end up very close to the calculated size, but it can vary slig
of slight variations in wall thickness or because the holes are tapered or undermined. Incidentally, you can
larger (and therefore higher in pitch) by undermining it on the North end, without enlarging the external d
way you can make the holes appear similar in size from the outside while the undermined hole is actually
hole can be moved closer to the foot without making it appear too large. The mode 1&4 section calculates
a mode 1&4 minor pentatonic flute. If you wish to make a 5-hole, mode 1 minor pentatonic flute, just ign
drill) hole number 4.

The mode 1&4 pentatonic flute is tuned by starting at hole 1 and going up. Each hole is tuned to the indic
Holes 1,2 and 3 are tuned to the indicated note, then hole 4 is tuned to its note while closing hole 3. This
After hole 4 is tuned, then tune holes 5 and 6 by keeping hole 4 closed. Basically, you are tuning the flute
1 pentatonic scale by keeping hole 4 closed, the same as if you were tuning a 5-hole flute; but hole 4 is tun
hole 3 closed because hole 4 is part of the mode 4 pentatonic scale, which is played by keeping hole 3 clo
too confusing, ignore hole 4 and make a 5-hole flute, tuning each hole by keeping all the holes below it op

This Excel file contains separate spreadsheets for creating a diatonic and a mode 2&5 pentatonic flute. Th
sheet for creating a closed-end flute with 4 direction holes, such as a walking stick flute. There are additio
instructions on those sheets.

Tuning the cross fingered notes and adjusting for temperature

There are three additional sections. The “Tuning” sheet gives instructions for tuning a pentatonic flute so
the cross fingerings in tune at the same time as you tune the basic notes. However, you have to start with
positions close to where they should end up, so that you don’t have to move them too much when you are
order to do this, there is a section called “Hole size calc.” Use this section to figure out the size (and there
placement) of hole 2. Then use this hole size in one of the other sheets, and start out with all the holes the
You can then adjust the other hole sizes to make the finger spaces right, and then when you tune you shou
tune the cross fingered notes with a minimum of moving or undercutting them. The last section is for adju
tuner when you are tuning at a different temperature than you expect the flute to be played at. You should
the flute at the expected playing temperature. Adjust the tuner's A440 adjustment according to the temper
tuning at, and it will play at the right pitch at the intended temperature. Alternatively, you can leave the tu
and tune everything flat or sharp by the number of cents indicated on the Temperature Adjust sheet.

Bob Grealish January, 2008

ock flute in the Native American style. It is
onic scale flute with the flue in the body of the
r. The TSH or true sound hole is rectangular.
main bore. The flue is cut into the body of
SH. The block that forms the top of the flue is
t crafting a flute can be found in various

itial calculations of the dimensions of the flute

ay. First, you chose the key of the flute you
y of Fundamental". An arrow will appear and
n flute is "F# above middle C", also known as
you want to use, the thickness of the walls of
f the plug, slow air chamber and the mouth
You can choose to calculate the bore based on
a round bore. If you choose one of the first
etting the depth of the routed channel. This
d ratios. It is best to choose a router bit that
dth ratio close to or greater than 1.0. If you
and L/B squared ratios are, given the router
ute blanks by making them the indicated
pth. After constructing the sound mechanism
ally shortening the foot end of the flute until

constructed and measured. It is independent

n. You can use this section for any flute blank,
the blue boxes again. You don't need to
lug to the foot end of the flute) and measure
the wall thickness, and enter this under
e thickness at the holes, if it differs from the
tart with the same diameter for each hole,
g at the hole closest to the foot of the flute, and
the foot to the center of the hole, shown both
ee the spacing between each of the holes. The
elow it. At this point, you can make
g between the holes. Keep making adjustments
oo close together. The holes should not be too
can affect the spacing of the holes by
 ory combination otherwise. Once you get
ot for each hole, and proceed to tune the flute
ated hole size, and gradually enlarge it until
alculated size, but it can vary slightly because
undermined. Incidentally, you can make a hole
, without enlarging the external diameter. This
e the undermined hole is actually larger. The
The mode 1&4 section calculates the holes for
1 minor pentatonic flute, just ignore (don't

p. Each hole is tuned to the indicated note.

note while closing hole 3. This is important.
Basically, you are tuning the flute to the mode
ng a 5-hole flute; but hole 4 is tuned keeping
h is played by keeping hole 3 closed. If this is
y keeping all the holes below it open.

a mode 2&5 pentatonic flute. There is also a

king stick flute. There are additional

s for tuning a pentatonic flute so that you get

However, you have to start with the calculated
ove them too much when you are tuning. In
n to figure out the size (and therefore the
and start out with all the holes the same size.
and then when you tune you should be able to
them. The last section is for adjusting your
flute to be played at. You should design
justment according to the temperature you are
Alternatively, you can leave the tuner set to A440,
Temperature Adjust sheet.
Detailed tuning method
For tuning basic and cross fingered notes at the same time

What is cross fingering?

For now, consider a 5 hole, pentatonic mode 1 Native American flute. A basic scale on a flute is played by
a time up from the foot end of the flute while leaving all the holes below it open. This will give you 5 not
This is a pentatonic scale. However, the NAF is capable of playing the notes in between the 5 notes of the
order to play these in-between notes, we close one or more of the holes below the highest open hole. This
fingering, and it has the effect of flattening the note by a half tone. (or sometimes two half tones with 2 ho
open note). By using these notes you greatly increase the repertoire of what can be played on the NAF. Y
just about every half step in the range of the flute, or a chromatic scale.

The 6 hole NAF

I usually assume that the 6-hole NAF is to be played either in “mode 1 pentatonic” OR “mode 4 pentatoni
1 should, in my opinion, be the same as playing a 5-hole NAF. That is, it should be able to be played as th
wasn’t there, and thus kept closed. Likewise, when playing in mode 4, the third hole is kept closed. In ei
should be able to play a well-tuned chromatic scale, at least up to the octave. Under this assumption, a ba
for the two modes are as follows for a 6-hole F# flute. Red indicates the cross-fingered notes
[Note: the 2 notes between the fundamental and the note played with the first hole open cannot be played
They have to be played, if at all, by partially covering the first hole with all the others closed. I will not co
further here. ]

Example: F# minor, pentatonic mode 1 & 4, 6-hole Native American style flute
(Mode 1 Pentatonic scale: F#,A,B,C#,E,F#) [hole 4 closed]
Chromatic Scale
F# G G# A A# B C C#
Hole 6 ˜ ˜ ˜ ˜ ˜ ˜ ˜ ˜
Hole 5 ˜ ˜ ˜ ˜ ˜ ˜ ˜ ˜
Hole 4 ˜ ˜ ˜ ˜ ˜ ˜ ˜ ˜
Hole 3 ˜ ˜ ˜ ˜ ˜ ˜ ™ ™
Hole 2 ˜ ˜ ˜ ˜ ™ ™ ˜ ™
Hole 1 ˜ ½ ½ ™ ˜ ™ ™ ™

(Mode 4 Pentatonic scale: F#,A, B, D, E, F#) [hole 3 closed]

Chromatic Scale
F# G G# A A# B C C#
Hole 6 ˜ ˜ ˜ ˜ ˜ ˜ ˜ ˜
Hole 5 ˜ ˜ ˜ ˜ ˜ ˜ ˜ ˜
Hole 4 ˜ ˜ ˜ ˜ ˜ ˜ ™ ™
Hole 3 ˜ ˜ ˜ ˜ ˜ ˜ ˜ ˜
Hole 2 ˜ ˜ ˜ ˜ ™ ™ ˜ ˜
Hole 1 ˜ ½ ½ ™ ˜ ™ ˜ ™

Basic concepts and definitions

The end of the flute you blow into is called the mouth end, the top end, or the North end. The other end is
or the South end. Moving a hole North means toward the mouth end. Playing hole 1 is the hole nearest th
is the one you tune first and they are numbered from there. The fingering charts above are drawn as thoug
standing on its foot. A solid circle is a closed hole and an open circle is an open hole. The pentatonic scal
black. The other notes, which are played by cross fingering, are in red. The green notes can only be gotte

When tuning, you start at the bottom and tune each hole with that hole and the holes below it open. This i
that you are tuning for each hole. The hole starts out small, and the note is flat. You make a note sharper
in three ways: 1) enlarging the hole opening, 2) moving the hole farther North {toward the mouth end} an
the thickness of the wall at that hole. The wall thickness and initial North/South location are usually prede
is commonly done by enlarging the hole. However, while you are enlarging the hole, you have the opport
center of it North or South slightly, still keeping it round. You do this by burning a crescent off the North
existing hole. Alternatively, you can just enlarge the whole thing by keeping the pressure even on all sid
hole.

Either moving or enlarging a hole will sharpen the basic note, but the cross fingered note is more sensitive
hole. Thus, if you want to sharpen the cross fingered note a lot while only sharpening the basic note a littl
the South end. This will make it bigger, while not moving it North. Both notes will get sharper, but the ef
fingered note will be greater. Conversely, if you want to sharpen the basic note more than the cross finger
North rim of the hole to enlarge it. The hole will move North, and the final hole when it’s in tune will be s
burn the South end. In this case the basic note will get sharper, but with less sharpening effect on the cros

Hole-by-hole procedure

Let’s assume you are making an F#, pentatonic mode 1&4 flute. The basic notes of the mode 1 scale are F
(see the fingering chart above) These are the notes that each open hole will play if all the holes below it a
ignore hole 4 and keep it closed.
The basic notes of the mode 4 scale are F#, A, B, D, E, F# (see the fingering chart above) These are the n
hole will play if all the holes below it are also open, if we ignore hole 3 and keep it closed.
The cross fingered notes are between these notes. Notice that there are two half-tone steps between some
three steps between some. For instance, the first cross fingered note is an A#, between A and B. However
there are 3 half-tone steps, and therefore two cross fingered notes. These two notes can be played by closi
below the open hole (See fingering chart) Both of these are considered cross fingered notes, but we are o
of them. The other one will come out in tune close enough.

First tune the fundamental note of the flute by cutting the foot end back or by placing and enlarging direct
Next, using NAFlutomat or other means, calculate where all your playing holes will be, designing them cl
diameter and adjusting the spacing so it is where you want it. Don’t make the holes too big. For an E4, a
A4, a little less than 5/16”. Mark the locations on the flute. Hereafter I will assume you are burning the h
burn a hole, you could just as well grind or file the holes instead of burning. Enlarging them by drilling m
adjust their position, because the drill bit will tend to center itself in the previously drilled hole, and it will
Therefore, this method doesn’t apply to drilling. Start with hole 1 and make each hole small and tune it be
next hole. Tune it by gradually enlarging it while checking the notes as follows:
If the basic note is flatter than the cross fingered note: enlarge the hole on its North end;
If the cross fingered note is flatter than the basic note: enlarge the hole on its South end;
If both notes are flat by the same amount: enlarge the hole concentrically.

A
Hole 6 ˜
Hole 5 ˜
Hole 4 ˜
Hole 3 ˜
Hole 2 ˜
Hole 1 ™
Hole 1 doesn’t require anything special. Just enlarge it gradually until it is in tune to A

A# B
Hole 6 ˜ ˜
Hole 5 ˜ ˜
Hole 4 ˜ ˜
Hole 3 ˜ ˜
Hole 2 ™ ™
Hole 1 ˜ ™
Hole 2: Enlarge the hole to tune it to B. Every time you enlarge it a little, check the tuning of the B with
open, and check the A# with the first hole closed and the second hole open. B is the basic note being tune
cross fingered note. Both notes will be flat at first. The following is an example of how to decide how to
Let’s say the B is 30 cents flat. Before you enlarge it, check the A# by cross fingering, i.e., closing hole 1
A# is 20 cents flat. So the basic note (B) is flatter than the cross fingered note (A#). In this situation, you
the hole North more than you want to enlarge it. This will sharpen the B more than the A#. Enlarge it a li
end. Now let’s say both the B and the A# are 15 cents flat. Now enlarge the hole concentrically. Check i
the B is 5 cents flat and the A# is 8 cents flat. This time enlarge it just a little on the South End. Now the
flat. Again, enlarge it concentrically, just a little, until both notes are in tune.

C C#
Hole 6 ˜ ˜
Hole 5 ˜ ˜
Hole 4 ˜ ˜
Hole 3 ™ ™
Hole 2 ˜ ™
Hole 1 ™ ™
Hole 3 is similar to hole 2. Each time you enlarge the hole a little, check the basic note (C#) and the cros
If the cross fingered note (C) is flatter than the C#, enlarge the hole on the South rim. If the C# is flatter, e
rim, and if they are both flat by the same amount, enlarge the hole concentrically.

C# D
Hole 6 ˜ ˜
Hole 5 ˜ ˜
Hole 4 ™ ™
Hole 3 ˜ ˜
Hole 2 ˜ ™
Hole 1 ™ ™
Hole 4 is a little different. It is usually closed because we usually play in mode 1 pentatonic. If hole 4 is o
playing in pentatonic mode 4 (with some exceptions, see below) Therefore, whenever hole 4 is open, hole
In mode 4, the fourth note of the scale is D rather than C#, but it is always played (and therefore, tuned) w
Now this looks like a cross-fingering, but you should think of it differently. Think of it as though hole 3 d
4 and all the holes below it (1 and 2) are open. It should play a D this way. The cross fingered note for th
which is played in mode 4 with holes 2 and 3 closed. Since you might play this flute in mode 4, hole 4 sh
its cross fingered note in mind also. Therefore, as you are enlarging the hole check the basic note D (with
the cross fingered note C# (with holes 2 and 3 closed). Again, if the C# is flatter than the D, enlarge the h
and vice versa if the D is flatter.

Holes 5 and 6 are tuned with hole 4 closed, as though this was a 5-hole flute. This is because it is more im
pentatonic mode 1 scale because it is used more than mode 4. Actually, the mode 4 scale will end up being

D D# E
Hole 6 ˜ ˜ ˜
Hole 5 ™ ™ ™
Hole 4 ˜ ˜ ˜
Hole 3 ˜ ˜ ™
Hole 2 ˜ ™ ™
Hole 1 ™ ™ ™
Hole 5: When tuning hole 5 (E), since it is 3 half tones above hole 3 (C#), there are two cross fingered no
is played with holes 2 and 3 closed (as well as 4), and the D# is played with hole 3 closed (as well as hole
above. I find that I use the D more, that it is more critical to get right, and that if I tune the D correctly, the
tune anyway. So when I am enlarging hole 5, I check the basic note, E and the cross fingered D. As abov
fingered note is flatter than the basic note, enlarge the hole more on the South end so it will end up larger.
the D more than the E. Don’t worry about the D#. It should end up in tune as well.

[As an aside, it has become popular, or even standard, to play the D by closing hole 3 and opening hole 4,
tuned, even when you are otherwise playing in mode 1. This is a hybrid scale, and obviously couldn’t be
flute. I think the reason for this trend is that many 6 hole flutes are tuned without paying attention to the c
that D is in tune with hole 4 open because it was specifically tuned that way, while the cross fingered D m
There’s no reason they can’t both be in tune, and this would allow the 5 hole players and the hybrid player
flute without changing the fingerings they have learned.]

F F F#
Hole 6 ™ ™ ™
Hole 5 ˜ ™ ™
Hole 4 ˜ ˜ ˜
Hole 3 ™ ˜ ™
Hole 2 ™ ™ ™
Hole 1 ™ ™ ™
Hole 6 is the octave F#, and its cross fingered note is F. Theoretically the F should be gotten with hole 6 o
5 (as well as hole 4). This cross fingering is sometimes hard to tune, because the placement of hole 6 is to
to adjust it. It is easier to tune it using the alternative cross fingering for the F and I recommend using tha
you are tuning the F#. It’s the same procedure as above, just a different cross fingered pattern.

Undercutting
Undercutting means burning or grinding the inside rim of the hole without enlarging the diameter of the h
outside surface of the flute. We usually use undercutting to “enlarge” a hole without actually enlarging the
If the hole is already as large as you want it, but the note you are tuning is still flat, you can undercut the h
note. Undercutting is usually done under the North rim of the hole, because it has more effect than underc

We can use undercutting to our advantage when tuning the cross fingerings as well. First of all, if the hole
and the note is still flat, you may want to consider undercutting the hole instead of enlarging it. Similarly
procedure, if you want to raise the pitch of the cross fingered note more than the basic note, undercut the
versa.) Even if the hole is not too big, undercutting is useful if the discrepancy between the flatness of the
fingered note is large. For instance, if the cross fingered note is getting real close to being in tune, but the
flat, you can undercut on the North end. This has the effect of moving the hole North without enlarging it
bring the basic note into tune, hopefully without making the cross fingered note too sharp. Conversely, un
rim seems to raise the pitch of the cross fingered note more than the basic note. The differential
on the pitch of the two notes seems to be even greater than just enlarging the North or South side of the ho
overall effect is less. One final point. If the holes are initially placed too far South (big holes), undercutti
much, and the cross fingered notes will end up being too sharp. Undercutting is best used for fine tuning t
between the top three holes or between the bottom three. If you want bigger holes, you can start with a lar
wall of the flute.

Important Addendum
One more very important tip that will take some experience to understand: I've noticed that when the bas
more than 50 cents flat, the cross fingered note should be more like 75-100 cents flat. IOW, when you jus
hole, the cross fingered note sharpens faster than the basic note, and it will catch up. If the basic and the c
notes are both 50 cents flat and you simply enlarge the hole, the cross fingered note will overtake the basic
end up at least 20 cents sharp. The moral of this story is, you can start adjusting even when the notes are m
cents flat. If the XF note is not significantly flatter than the basic note, start adjusting the hole Northward.
make sense when you start looking at the cross fingered notes when you are tuning. An example for clarit
figure out hole 2 size with FluteSheet and then figure the location for this hole size, it will come out just ri
when you are tuning this second hole, you will notice that when the basic note is more than 50 cents flat, t
fingered note is more like 75 cents or more flat. That's OK. Don't adjust the hole position. As you enlarg
the cross fingered note will "accelerate" and catch up with the basic note so that they will come into tune t
by enlarging the hole. The third hole, on the other hand, tends to have a sharp cross fingered note. When
is 50 cents flat, the XF note will also be about 50 cents flat. This is not good. If you just enlarge the hole,
fingered note will be sharp. So if you notice they are both 50 cents flat, you have to enlarge on the North
that will not be enough. When the basic note is about 35 cents flat and the XF note maybe 20 cents flat, y
start undercutting on the North end and hope this will slow down the XF sharpening so they come into tun
If, however, both notes get to about 20 cents flat together, they will come into tune together just by enlargi
much. Eventually, you get a mental picture of how much each note sharpens with enlarging, and you'll se
note sharpens faster (a steeper curve).

Bob Grealish, March 2006, July 2007

 scale on a flute is played by opening one hole at
n. This will give you 5 notes plus the octave.
n between the 5 notes of the pentatonic scale. In
he highest open hole. This is called cross
mes two half tones with 2 holes closed below the
n be played on the NAF. You can, in fact, play

nic” OR “mode 4 pentatonic” Playing in mode

d be able to be played as though the 4 th hole
d hole is kept closed. In either mode, you
Under this assumption, a basic fingering charts
s-fingered notes
ole open cannot be played by cross fingering.
others closed. I will not consider those notes

D D# E F F#
˜ ˜ ˜ ™ ™
™ ™ ™ ˜ ™
˜ ˜ ˜ ˜ ˜
˜ ˜ ™ ™ ™
˜ ™ ™ ™ ™
™ ™ ™ ™ ™

D D# E F F#
˜ ˜ ˜ ™ ™
˜ ™ ™ ˜ ™
 ™ ˜ ™ ™ ™
˜ ˜ ˜ ˜ ˜
™ ™ ™ ™ ™
™ ™ ™ ™ ™

North end. The other end is the bottom, the foot

hole 1 is the hole nearest the foot, because this
s above are drawn as though the flute was
n hole. The pentatonic scales are shown in
een notes can only be gotten by “half-holing”.

holes below it open. This is the “basic” note

. You make a note sharper to bring it into tune
{toward the mouth end} and/or 3) decreasing
h location are usually predetermined, so tuning
e hole, you have the opportunity to move the
ng a crescent off the North or South rim of the
he pressure even on all sides of the existing

gered note is more sensitive to enlarging the

pening the basic note a little, enlarge the hole at
s will get sharper, but the effect on the cross
more than the cross fingered note, burn the
e when it’s in tune will be smaller than if you
arpening effect on the cross fingered note.

es of the mode 1 scale are F#, A, B, C#, E, F#

y if all the holes below it are also open, if we

art above) These are the notes that each open

ep it closed.
f-tone steps between some of the notes, and
between A and B. However, between C# and E,
notes can be played by closing one or two holes
ingered notes, but we are only going to tune one

lacing and enlarging direction or tuning holes.

s will be, designing them close to the same
holes too big. For an E4, about 23/64”, for an
sume you are burning the holes, but if I say to
nlarging them by drilling might not allow you to
usly drilled hole, and it will enlarge it all around.
ch hole small and tune it before starting on the

ck the tuning of the B with the first two holes

is the basic note being tuned, and A# is the
le of how to decide how to enlarge the hole.
ngering, i.e., closing hole 1 only. Let’s say the
(A#). In this situation, you will want to move
than the A#. Enlarge it a little on the North
ole concentrically. Check it again. Let’s sat
n the South End. Now they are both 3 cents

asic note (C#) and the cross fingered note (C).

h rim. If the C# is flatter, enlarge on the North

e 1 pentatonic. If hole 4 is open, then you are

henever hole 4 is open, hole 3 should be closed.
ed (and therefore, tuned) with hole 3 closed.
ink of it as though hole 3 didn’t exist, and hole
e cross fingered note for this hole is a C#,
s flute in mode 4, hole 4 should be tuned with
heck the basic note D (with hole 3 closed) and
er than the D, enlarge the hole on the South end,

This is because it is more important to tune the

de 4 scale will end up being in tune also.

e are two cross fingered notes below it. The D

le 3 closed (as well as hole 4). See the chart
if I tune the D correctly, the D# will also be in
cross fingered D. As above, if the cross
nd so it will end up larger. This will sharpen

hole 3 and opening hole 4, just the way it is

and obviously couldn’t be done on a 5 hole
out paying attention to the cross fingering, so
hile the cross fingered D may be out of tune.
ayers and the hybrid players to both play your

ould be gotten with hole 6 open by closing hole

he placement of hole 6 is too far North or South
and I recommend using that to tune the F while
ingered pattern.

rging the diameter of the hole as seen on the

 thout actually enlarging the outside diameter.
flat, you can undercut the hole to sharpen the
has more effect than undercutting the South rim.

well. First of all, if the hole is getting too big

d of enlarging it. Similarly to the above
he basic note, undercut the South rim. (and vice
between the flatness of the basic and the cross
se to being in tune, but the basic note is still
North without enlarging it much. This will
e too sharp. Conversely, undercutting the South
The differential effect that undercutting has
orth or South side of the hole, though the
outh (big holes), undercutting can only do so
s best used for fine tuning the relative spacing
oles, you can start with a larger bore or a thicker

e noticed that when the basic note is still

ts flat. IOW, when you just enlarge the
h up. If the basic and the cross fingered
note will overtake the basic note and
g even when the notes are more than 50
justing the hole Northward. This will
ning. An example for clarity: when you
size, it will come out just right. But
is more than 50 cents flat, the cross
ole position. As you enlarge the hole,
t they will come into tune together just
cross fingered note. When its basic note
If you just enlarge the hole, the cross
ve to enlarge on the North end. Even
note maybe 20 cents flat, you have to
ening so they come into tune together.
une together just by enlarging, pretty
ith enlarging, and you'll see that the XF
Dist between Holes 1.5362
Dist from foot in 4 11/64 5 45/64
fractions of an inch
Flute Calculator - Calculations after bore is constructed and measured
Assumes routed bore with rounded end. Measurements in inches. Speed of Sound in inches/sec Temp. in degrees Fahrenheit
Fundamental
13. G above middle C G4 Mode 1 & 4 Pentatonic
Playing hole
Measured/known Measured length Bore width Fundamental freq Playing Temp. Bore height Thickness
14 21/32 0.8750 392 72 0.8750 3/16
Calculated Foot wall thickness Bore K1 K2 Bit depth calc
3/ 16 0.8750 0.2975 2.4720 0.4375
Speed of sound 1/2 Wavelength Actual Length Length/bore ratio Length/Bore sq.
13552.0272 17.286 14.5162 17.09 19.53

Hole# (from foot) 1 2 3 4 5 6

Note Bb 4 C5 D5 Eb 5 F5 G5
Frequency 466.2 523.3 587.3 622.3 698.5 784
1/2 wavelength 14.5346 12.9486 11.5376 10.8887 9.7008 8.6429
Thickness 3/16 3/16 3/16 3/16 3/16 3/16
Hole diameter 0.330 0.330 0.350 0.330 0.350 0.300
Dist between Holes 1.1953 1.2470 1.1227 1.0000 0.9818
Dist from foot in 4 33/64 5 45/64 6 61/64 8 5/64 9 5/64 10 1/16
fractions of an inch
 Fundamental
08. D above middle C D4 Diatonic
Playing hole
Measured/known Measured length Bore width Fundamental freq Playing Temp. Bore height Thickness
20 33/50 0.8750 293.7 72 0.8750 3/16
Calculated Foot wall thickness Bore K1 K2 Bit depth calc
3/ 16 0.8750 0.2975 2.2538 0.4375
Speed of sound 1/2 Wavelength Actual Length Length/bore ratio Length/Bore sq.
13552.0272 23.071 20.5200 23.95 27.37

Hole# (from foot) 1 2 3 4 5 6

Note E4 Gb 4 G4 A4 B4 Db 5
Frequency 329.6 370 392 440 493.9 554.4
1/2 wavelength 20.5583 18.3136 17.2857 15.4000 13.7194 12.2222
Thickness 3/16 3/16 3/16 3/16 3/16 3/16
Hole diameter 11/32 1/ 2 5/16 3/ 8 25/64 3/ 8
Dist between Holes 1.5068 1.4391 1.9163 1.5650 1.5300
Dist from foot in 3 63/64 5 1/ 2 6 15/16 8 55/64 10 27/64 11 61/64
fractions of an inch
11. F above middle C F4 Mode 2 & 5 Pentatonic
Playing hole
Measured/known Measured length Bore width Fundamental freq Playing Temp. Bore height Thickness
17 6/25 0.8750 349.2 72 0.8750 3/16
Calculated Foot wall thickness Bore K1 K2 Bit depth calc
3/ 16 0.8750 0.2975 2.0069 0.4375
Speed of sound 1/2 Wavelength Actual Length Length/bore ratio Length/Bore sq.
13552.0272 19.404 17.1000 20.04 22.91

Hole# (from foot) 1 2 3 4 5 6

Note G4 A4 Bb 4 C5 D5 F5
Frequency 392 440 466.2 523.3 587.3 698.5
1/2 wavelength 17.2857 15.4000 14.5346 12.9486 11.5376 9.7008
Thickness 3/16 3/16 3/16 3/16 3/16 3/16
Hole diameter 0.300 0.350 0.320 0.340 0.300 0.400
Dist between Holes 1.4824 1.3977 2.7719 1.2982 1.4791
Dist from foot in 3 27/32 5 21/64 6 23/32 8 3/32 9 25/64 10 7/ 8
fractions of an inch

In order to tune a mode 2&5 pentatonic flute, tune

 Hole 1 – tune normally
Impedence calculations  Hole 2 – tune with hole 1 open
06. Middle C (C4) C4 Closed Bore mode 1&4 Pentatonic

Measured/known Measured length Bore width Fundamental freq Playing Temp Bore height Thickness
22.5656 1.2500 261.6 72 1.2500 3/16

Direction holes Diameter hole 1 Diameter hole 2 Diameter hole 3 Diameter hole 4
0.3680 0.3740 0.3820 0.3850 Eqiv. Diam. Measured K2
area 0.1063617609 0.1098583535 0.1146084416 0.1164156428 0.7546184466
k1 4.1549749921 4.0654822332 3.9517764575 3.9107029077 1.004613312

Calculated Speed of sound 1/2 Wavelength Bore Substitute K1 K2 Bit depth calc
13552.0272 25.902 1.2500 1.0046 2.7486 0.625
Round end correction Actual Length Length/bore ratio Length/Bore sq.
0.2083 22.1489 18.52 14.82

Hole# (from foot) 1 2 3 4 5 6

Note Eb 4 F4 G4 Ab 4 Bb 4 C5
Frequency 311.1 349.2 392 415.3 466.2 523.3
1/2 wavelength 21.7808 19.4044 17.2857 16.3159 14.5346 12.9486
Thickness 3/16 3/16 3/16 3/16 3/16 3/16
Hole diameter 0.380 0.410 0.500 0.380 0.410 0.360
Dist between Holes 1.4254 1.5123 2.4184 1.3933 1.3095
Dist from rounded end 6 53/64 8 1/ 4 9 49/64 12 11/64 13 9/16 14 7/ 8
in fractions of an inch
Ideal Playing Temperature 72 cycles per cent
Wavelength Ab 415.3 4.048582996
Wavelength A 440
Wavelength Bb 466.2 3.8167938931

Tuning Conditions
Tuning
TEMP Speed of Sound FREQ WL CENTS
50 13268.53455771 430.8 -36.6
51 13281.55186149 431.2 -34.9
52 13294.55641945 431.6 -33.2
53 13307.54826895 432.1 -31.5
54 13320.52744717 432.5 -29.8
55 13333.49399113 432.9 -28.1
56 13346.44793763 433.3 -26.5
57 13359.38932333 433.7 -24.8
58 13372.3181847 434.2 -23.1
59 13385.23455802 434.6 -21.4
60 13398.13847942 435.0 -19.8
61 13411.02998483 435.4 -18.1
62 13423.90911004 435.8 -16.4
63 13436.77589063 436.3 -14.8
64 13449.63036204 436.7 -13.1
65 13462.47255953 437.1 -11.5
66 13475.30251818 437.5 -9.8
67 13488.12027292 437.9 -8.2
68 13500.92585852 438.3 -6.5
69 13513.71930957 438.8 -4.9
70 13526.50066049 439.2 -3.3
71 13539.26994556 439.6 -1.6
72 13552.02719888 440.0 30.80006 0.0
73 13564.7724544 440.4 1.6
74 13577.50574591 440.8 3.3
75 13590.22710703 441.2 4.9
76 13602.93657123 441.7 6.5
77 13615.63417184 442.1 8.1
78 13628.31994201 442.5 9.7
79 13640.99391475 442.9 11.3
80 13653.65612292 443.3 12.9
81 13666.3065992 443.7 14.5
82 13678.94537615 444.1 16.1
83 13691.57248618 444.5 17.7
84 13704.18796152 444.9 19.3
85 13716.79183429 445.3 20.9
86 13729.38413643 445.8 22.5
87 13741.96489975 446.2 24.1
88 13754.53415592 446.6 25.7
89 13767.09193646 447.0 27.3
90 13779.63827273 447.4 28.8
Instructions:

Set the Ideal Playing Temperature you want to tune the flute for. This is the temperature you expect the
flute to be played at.

Under Tuning conditions, find the temperature at which you are tuning the flute. Then

EITHER
Set your tuner's A to the Frequency next to the tuning temperature and tune each note to top dead
center (zero cents off);

OR
Leave the tuner set to A440, and tune each note either flat or sharp by the number of cents shown next
to the temperature.

When the flute is played at the Ideal Playing Temperature it will play at concert pitch (A440)