When I first started making ocarinas, they were basically art objects that could make a sound or two. As a visual artist, the embellished, painted surfaces were what I emphasized. Most of these early ocarinas were pinch pots put together, scraped then sanded to a smooth surface for painting with underglaze colors.
My very first ocarina, pictured above, was a thick-walled vessel that made a rather pressured, whining sound - I optimistically imagined it to be lilting. Since the holes were arranged in a straight line along the top surface of the vessel, it doubled as a water whistle. Filled with water and slowly swirled then emptied as I blew air through it, it created a sound reminiscent of a loon. This was quite apropos for the abstract bird design that I had painted on the surface with underglaze pigments and overglaze 24K gold enameling.
As time went by, as I became thinner skinned about foggy, vague and limited sounds, my
vessels became thinner walled and, with the help of a chromatic tuner, adjusted to chromatic scales and increased range. But lately I have been revisiting some of the older ocarinas and adjusting them with sanding and the use of a dremel to clarify and expand sounds. As an experiment on my first ocarina, I thought that I would relieve some of the pressure of the thick walls by drilling out a horn shape on the end opposite the mouthpiece. I suppose that technically this makes this piece now more of a horn than an ocarina but at least it would add color and volume to the sound. Of course this meant it would no longer be a water whistle - but I can always make more and better water whistles.
I had only a small dremel and this old ocarina was a lot thicker-walled than I had anticipated. As a consequence it took some time to bore out and shape the hole. And then it left this white bare clay hole. What to do? I just happened to have enough metal leaf to decorate this exit and the coloring seemed to match the exterior gilding well. So now my retrograde ocarina has been upgraded.
May 8, 2013
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