From the Finnish Forests to the Hills of KwaZulu-Natal: The Story of Two Flutes
It is a fascinating phenomenon in ethnomusicology: two cultures, separated by over 10,000 kilometers, developed almost identical musical instruments. In the North, we have the Finnish Pitkähuilu (long flute, willow flute, overtone flute). In South Africa, the Zulu people have the Umtshingo.
One Acoustic Principle, Two Different Worlds
Both the Finnish overtone flute and the Zulu Umtshingo operate on the same physics: they have no finger holes. The melody is created entirely by varying the blowing pressure and opening or closing the end of the tube with a finger.
This technique unlocks the Natural Harmonic Series (overtones) — the ”pure” scale of nature.
Comparing the Pitkähuilu and the Umtshingo
While the musical soul is the same, the materials reflect their respective environments:
| Feature | Finnish Pitkähuilu | Zulu Umtshingo |
| Material | Traditionally willow or pine wood | Traditionally local reed (umhlanga) or bark of the gabbage tree (umsenge) |
| Scale | Natural harmonic Series | Natural harmonic Series |
| Finger holes | Only the bottom end of the flute | Only the bottom end of the flute |
| Modern materials | PVC plastic, wood | PVC plastic, wood |
Bringing the Traditions Together
At overtoneflute.fi, we celebrate this global connection. Whether you call it an willow flute, seljefløyte, pitkähuilu, koncovka or an umtshingo, the language of the harmonic series is universal. It is a reminder that despite the distance, we all play the same song of nature.
Universal Melody: Because Nordic overtone flute melodies (which you can find on this website) follow the harmonic series (overtones), they can also be played on the Umtshingo and other similar instruments. Both instruments utilize the same natural scale overtones (partials 4–12), making them perfectly compatible.
Listening tips (umtshingo): Dizu Plaatjies
Deep Dive: The Modern Revival of the Umtshingo
While the umtshingo has its roots in the ancient times among the Zulu people, it is far from a forgotten relic. In recent decades, there has been a significant movement to preserve and revitalize the practice of traditional South African instruments.
According to research by Tandile Mandela at the University of Cape Town, this revival is driven by both a cultural need to reconnect with heritage and the innovative use of modern materials.
Key insights from the modern revival:
- Material Innovation: While traditional flutes were made from reed (umhlanga) or the bark of the cabbage tree (umsenge), many modern makers now use PVC piping. This makes the instruments more durable and accessible for students in urban environments.
- Educational Integration: Figures like Dizu Plaatjies have played a crucial role in bringing these ”shepherd’s instruments” into formal musical education and onto global concert stages, ensuring the techniques aren’t lost to time.
- A Living Tradition: The revival isn’t just about the past; it’s about adaptation. The same natural harmonic principles that guided Zulu herders centuries ago are now being explored in contemporary world music and jazz fusion.
Sources:
Kirby, Percival R. (1934). The Musical Instruments of the Native Races of South Africa. Oxford University Press. London.
Mandela, Tandile (2005): The Revival and Revitalization of Musical Bow Practice in South Africa. Dissertation, University of Cape Town.
Leisiö, Timo (1983). Suomen ja Karjalan vanhakantaiset puhallinsoittimet. Suomen etnomusikologinen seura.
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