Half-Notes and a Sa

[Kirtay]

I have a small problem with half-notes(komal re, for instance). When I try to play these notes, there is more air than tone. Any tips, videos, or pictures to help me?

And another thing is, I play my six-hole with sa as all closed instead of 3 closed. However, this ends the flute at a Ni, which is not pleasing. Any tricks to make a high sa?

Or if you play with 3 covered as a sa, how do I get a high pa with a six-hole bansuri?

thanks in advance,
Kirtay.

[manu]

About komal notes. I have seen people practice two different techniques. Either you can lift your finger up slightly or you can slide your finger to the side. Try both and see what suits you. The airy sound will go away with practice.

It is possible to play the Pa of the taar saptak. In fact many musicians can play many more notes beyond that.

For playing Pa (or Sa in your case) you can try with the topmost hole open and the rest of the holes closed.

[Kirtay]

Thank you so much! The high note of Sa, in my case, makes the flute...complete.

Is there a fingering chart available for all possible notes with a six-hole bansuri?

[Kirtay]

Also, I have heard for high notes, I should concentrate the air flow and reduce strength.

How should I concentrate the air flow? And thanks for the tip on komal notes, lifting my finger works amazingly.

[manu]

There is a fingering chart on the site www.bansuriflute.com. You can click on learn bansuri and then on the bottom of the page...

This is for the seven hole bansuri but you can ignore the seventh hole.

I am working on an interactive finger chart. It will be available soon.

Playing higher notes is a matter of practice. You should just try to blow softer and sharper. That could mean pressing your lips slightly more than you would normally do.

[Kiray]

What about notes lower than all holes covered, any possibilities?

[talasiga]

If you have covered all possible tone holes and want lower notes, only one more note is possible and that is the note a semitone below.

So if you are on a six hole flute and you are playing the mandra Pa
you can get a tivra Ma below that and if you're on a 7 tonehole flute and you are playing the mandra tivra Ma you can get a shuddha Ma below that.

This is something that is easily done in aalap by angling the flute so that embouchure hole is dramatically turned in. Turning in flattens the tone.
It is difficult to do this at speed but still, in drut laya, one can do it if one intends to sustain the inturned note a vibhag or two or for the avartan.

I don't KNOW anyone else who does this but I do it and fellow musicians like it.

[_kirtay]

What exactly do you mean by "turn in"?

[talasiga]

When one rotates the flute to change angle of the mouth hole, the outward rotation will do one thing and the inward rotation will do the other.
I will let your common sense tell you which one is the TURNING IN.

Someting that moves towards you is movement inwards
and the opposite is outwards.

[:Kirtay:]

.......... idiot moment, so sorry.....hehe...

[manu]

Hey Kirtay I would suggest you to register on the site.

That way you will be able to track what new posts have been made since you last visited and you could also be alerted by email if someone has posted....

[marukonline]

Hi Friends,

this is my second post on the forum.
Even if not exiting I'm getting some result from my bansuri.
The only -think is that as I tray to make any improvvisation the baroque saound that comes out from the instrument alway reminds me I 'm a European.

I've just found this interactive fingering chart I think the beginners like me will enjoy.
http://www.anubodh.com/Fingering%20full ... chart.html

Regards

MArco

[talasiga]

.....
The only -think is that as I tray to make any improvvisation the baroque saound that comes out from the instrument alway reminds me I 'm a European.

.......

A deeper improvisation may lead to your deepest essence,
beyond the geo-cultural labels.
Deep improvisation begins by getting deeper into the note
rather than building more and more notes to it.

As pan cultural examples listen to dhrupad alaap of India and ancient European plainsong traditions as in Gregorian and Byzantine church chants. Also slow Airs of the Celtic traditions.

Essence awaits, my friend.