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	Fujara bass flute sound : Fujara overtone bass flute is endowed with very characteristic voice like no other music instrument on Earth. Fujara voice is mellow, haunting and very rich on overtones: "From far away, a gentle wind seems to carry sounds as distant and dreamy as a landscape lost in the mists of time. With the breaking of dawn, colour upon colour emerges from the blue of the night. Silk-soft waves and pearl-like tones ripple above the deep basic tone. That is the Fujara." by Naturton, Switzerland

Fujara is extremely dynamic overtone bass flute. As the strenght of players breath changes, soft and quiet melody can in split of second rise to a wild storm of shrilling overtones creating thus breath-taking effects ...

What an ideal concert Fujara (overtone bass flute) should be like ?

• Rich, robust and balanced overtone spectrum - multiphonics
  (best hearable at scatter and woosh - special fujara ornaments).
• Smooth, soft, haunting and possibly clear voice.
• Easy to play and overblow - stable on all possible notes and easily overblowable woosh.
  • Breath saving and dynamic, but still not too sensitive, achieving perfect playability.
• Perfectly tuned fujara fundamental achieving equal tempered diatonic scale.

Ten points towards an ideal fujara

1. "A fujara is a musical instrument, and this should be taken into consideration throughout the whole process of production.
2. It must have an adequately strong, yet soft, velvet tone that sounds through all registers without hissing when given a stronger breath
3. Playing should be natural and easy, without a problem with losing breath and the player can completely dedicate himself to the song, not to the fujara.
4. On all overtones (3 closed holes) the fujara should react to vibrato, the tone must react to every movement of the fingers.
5. The intonation must be pure and up a major scale. After all, the fujara is a musical instrument.
6. When given a strong “whoosh” of air that lasts about a second, all overtones should be heard from the lowest to the highest.
7. On a G major fujara (170cm) should be possible to play the following tones: Great G, g, g1, g2, g3- or four octaves, with the pure major scale from g- g2
8. When given a strong scatter the fujara should not allow any holes or quiet spaces on the way down, and in the “two-line” octave almost all overtones should be heard.
9. The perfect fujara deserves perfect decoration. Let’s learn to understand wood and push back the bridal-veil, let her show her true beauty.
10. The Fujara must have a “soul.” Only then can a fujarist play by his heart and become an equal partner in the conversation with the fujara. "

Written by Dusan Holik,
translated by Ben Sorensen, e-mail: cerrunos1@yahoo.com