Difference between Carnatic and Bansuri Flute/ How do I learn Indian classic music on flute ?

Prologue

A subtle warm melody as gentle as the wind, but as clear and strong is the exact tone/sound produced by the flute. The Flute is a member of a family of musical instruments called Woodwind, producing sound with a vibrating column of air. The tunes from this exquisite instrument can transcend and allow one to experience a feeling of calm, tranquil sense of feeling away from the hustle bustle of daily life. Self-effacing, affordable, easy to carry are some of the desirable qualities of learning the instrument, be it Carnatic flute lessons online or offline, western lessons or hindustani lessons.

Different types of Flutes all over the world

Flute has widespread sources of origin, design (shape), make (materials), style (playable style) based on its region of occurrence.

For example: the Chinese dizi flutes, the Japanese shinobue, the Indian Venu and Bansuri (asian flutes are usually wooden and played horizontally), the range of western classical flute– concert flute, alto/ bass/ piccolo/ baroque flutes (usually made of metal and played vertically), finally the south American flutes are multi barrel flutes called pan pipes.

Venu is the name of the 8 holed, Carnatic flute prevalently used in South of India for well over a century, its inclusion in various western genres has taken its melodies to a global audience.

Bansuri is the name of the 6 holed, Hindustani Flute prevalently used in North of Indian for well over a long time period. It has been actively used in both regional and international spectrum, appealing to global audience.

Venu - The Carnatic Flute

The Venu is one of the oldest known flutes in Indian musical history, particularly in South Indian classical music, or Carnatic music. The instrument dates back to ancient times and is often mentioned in Hindu mythology and scriptures, such as the Natya Shastra and other classical texts. It is believed to be the same instrument played by Lord Krishna, who is often depicted with a flute, symbolising divine music and love.

This keyless instrument is called a transverse flute and has a range of two and a half octaves. It is also called using other names such as- Pullankuzhal in Tamil and Kolalu in Kannada.

In the context of Carnatic music, the venu became an essential instrument for both vocal accompaniment and solo performances. The venu has eight finger holes, allowing for complex note variations and ornamentation techniques such as gamakas (oscillations) and meend (gliding between notes), essential elements in Carnatic music.

Shri. T.R. Mahalingam, commonly known as “Mali,” revolutionised the way the Venu is played in the 20th century, elevating its status as a solo instrument and expanding its repertoire in classical performances. Since then, the venu has remained a prominent instrument in South Indian classical music.

Bansuri- The Hindustani Flute

The Bansuri, a traditional North Indian bamboo flute, has a rich history dating back over 2,000 years. It holds a prominent place in Indian mythology and ancient texts, particularly in relation to Lord Krishna, who is often depicted playing this flute to charm humans and animals alike. The instrument has also been associated with the Vedic period, where it was used in pastoral settings and folk music.

In Hindustani classical music, the Bansuri was traditionally used in folk songs and light music but wasn’t a formal classical instrument until the 20th century. Legendary musician Pandit Pannalal Ghosh was pivotal in establishing the Bansuri as a classical instrument by modifying its size, increasing its length and range. He also expanded its repertoire, enabling it to play intricate ragas, the complex melodic frameworks of Indian classical music.

Pandit Hariprasad Chaurasia further popularised the Bansuri on the global stage. Today, it is an essential instrument in Hindustani classical music, known for its deep, meditative sound and expressive capabilities.

Venu vs Bansuri

The Venu and Bansuri are both traditional Indian bamboo flutes, but they differ in terms of origin, design, and their use in music. Here are the key differences:

1. Geographical Origin:

2. Number of Finger Holes:

3. Size and Shape:

4. Playing Technique:

5. Notable Players:

Feature	Carnatic Flute – Venu	Hindustani Flute – Bansuri
Geographical origin	Southern India (primarily used in Carnatic music)	Northern India (used in Hindustani classical music)
Music Style	Carnatic music (South Indian classical music)	Hindustani music (North Indian classical music)
Material	Typically made from bamboo	Also made from bamboo, sometimes other materials
Size and Shape	Shorter in length, smaller diameter	Longer, larger diameter, can vary in size
Number of finger holes	8 finger holes, with a vent hole	6 to 8 finger holes, no vent hole
Tuning/scale	Played in different shruti (microtonal intervals) to match Carnatic raga system	Uses a diatonic scale based on Hindustani ragas
Playing technique	Finger holes are covered and uncovered using precise control of breath and finger pressure. Notes and shrutis are manipulated through sliding techniques.	Similar covering and uncovering of holes but includes use of the lips to manipulate airflow for smooth transitions between notes (meend). Sliding between notes is more prominent.
Pitch Range	Narrower compared to the bansuri	Broader pitch range due to size variations
Tone/ Timbre	Sharp and crisp	Softer and more mellow
Fingering technique	More complex, with microtonal variations	Less complex, more straightforward
Size variation	Typically smaller, ranging around 8-12 inches	Can range from smaller (12 inches) to very large (up to 30+ inches)
Notable players	Dr. N. Ramani, Shri T.R. Mahalingam, Shri Shashank Subramanyam	Pandit Hariprasad Chaurasia, Shri Pannalal Ghosh
Cultural significance	Integral to South Indian classical music and temple performances	Widely associated with Krishna and North Indian classical music traditions
Embouchure (Mouth Position)	The mouth position is tighter due to the smaller size and higher pitch range.	Requires a more open embouchure for larger-sized bansuri to control airflow for lower notes.

Introduction and Integration of Flute in Indian Classical Music

The introduction of the flute into Indian classical music has roots in ancient mythology, religious traditions, and cultural practices. The flute, especially the bamboo variety, has been an integral part of India’s cultural and musical heritage for thousands of years. However, its formal integration into the structured systems of Carnatic (South Indian classical) and Hindustani (North Indian classical) music occurred at different times, with significant contributions from key musicians in the 20th century.

Ancient Origins of the Flute in Indian Culture

The flute has deep ties to Indian mythology, most notably associated with Lord Krishna, who is often depicted playing a bamboo flute, the bansuri. Krishna’s flute is said to have the power to captivate both nature and human beings, symbolising divine love and spiritual connection. The bansuri is mentioned in ancient texts like the Vedas and the Puranas, suggesting its long-standing presence in Indian society.

In addition to its mythological significance, the flute was used in folk traditions and pastoral settings across India. Simple bamboo flutes were common among shepherds and rural folk, where they were used to play simple melodies.

Integration into Classical Music Traditions

Hindustani Classical Music (North India)

The bansuri was initially not part of the formal Hindustani classical music repertoire, which predominantly featured instruments like the sitar, sarod, and tabla. For centuries, the bansuri was relegated to folk music and devotional contexts. The formal integration of the bansuri into Hindustani classical music occurred in the early 20th century, largely due to the efforts of Pandit Pannalal Ghosh. Ghosh extended the size of the traditional folk bansuri, increasing its length and range to make it suitable for playing complex ragas (melodic frameworks) of Hindustani music. His innovations allowed the instrument to play deep, meditative notes and meet the melodic and rhythmic intricacies of classical music. After Ghosh, Pandit Hariprasad Chaurasia further elevated the status of the bansuri, expanding its global recognition and incorporating it into the mainstream Hindustani classical concert tradition. His emotive, expressive playing style and technical mastery solidified the bansuri as one of the main instruments in Hindustani music.

Carnatic Classical Music (South India)

The venu, or South Indian bamboo flute, has been a part of South Indian music for centuries, mentioned in ancient scriptures like the Natya Shastra. However, its use in formal Carnatic classical music performances became more prominent in the 20th century. The turning point for the venu came with Shri T.R. Mahalingam (Mali), who is widely regarded as the person who transformed the flute into a major instrument in Carnatic music. Mali revolutionized the technique of playing the venu by developing unique fingering techniques and expanding its tonal range. His innovations allowed the venu to handle the complex ragas and fast-moving ornamentations (gamakas) that are essential in Carnatic music. Mali’s pioneering work led to the acceptance of the venu as a solo instrument in Carnatic music concerts. Following Mali’s influence, several other flutists, such as Dr. N. Ramani, Shri Prapancham S Balachandran, Shri S. Shashank etc… carried the tradition forward, making the venu a central instrument in the Carnatic music repertoire. Key Contributions to Indian Classical Music:

Pandit Pannalal Ghosh: Pioneered the transformation of the bansuri into a classical instrument in Hindustanimusic by modifying its size and structure.
Pandit Hariprasad Chaurasia: Took the bansuri to new heights, making it a globally recognized instrument in Hindustani
Shri R. Mahalingam (Mali): Revolutionised the venu in Carnatic music by developing new playing techniques and making the flute an essential instrument in the South Indian classical tradition.

Important things to remember while playing the Flute

Mainting posture The Carnatic flute is typically played seated on the floor cross legged, it is essential to sit in this posture with an erect spine and stretched out shoulder and chest, thereby enabling lungs to contract and expand to its fullest capacity. The knotted end, and groove of the flute must be positioned and balanced on your lower lip. Note: it will be beneficial to practice before a mirror to ensure playing posture and blowing techniques are correct. Fingering technique The Indian classical flute is held horizontally rather than vertically in its western counterpart. The flute is slightly tilted towards the ground. Place your right thumb (for a right-handed person) under the flute with the other four fingers placed behind the flute and used for closing or opening the holes. The left thumb is stretched horizontally under the flute and the other four fingers are placed in front of the flute and used for covering the holes. Do not hold the flute with your palm but with your fingers. Various sounds are produced in the venu based on whether the holes are open, partially covered, or fully covered. Embouchure Embouchure means the method of placing your mouth on the mouthpiece of a wind instrument to play it. With the Carnatic flute, practise releasing air slowly through your lips; it must be smooth and even so you are not gasping for breath. Do not blow out air making an O shape with your lips. Rather tuck your lower lip under your upper lip to produce sound. Air should go into the flute in a slanting way such that not all the air from your lips goes into the flute. This will enable the appropriate sound to emanate from the flute. Breath control This involves knowing when to take and release breath so as not to interfere with the tone or tune of the melody. Yoga and breathing exercises like pranayama are known to be good for improving the singing voice; they can help with better breath control for wind instruments too.

Tips for Beginners playing the Indian Classical Flute

Ensure that you practise good hygiene – both oral and hands to keep your flute germ-free. Also, clean your flute regularly.
Ensure that your neck is in line with your back rather than bent towards the flute. You could literally save yourself that pain in the neck!
Practise the embouchure with your lips before you try it on the flute.
Practise breath control. All wind instruments require you to control your breath, so you are inhaling and exhaling at the right time.
Practise blowing into the flute and slowly increase the length of time you blow in a single breath.
Record and listen to yourself.
Learn to read Carnatic and Hindustani notation respectively so that your focus will be on the instrument rather than deciphering the notes.
Develop an ear for Carnatic music and the flute’s role in it for you to be able to visualise and internalise the potential of the flute.
Learn your Online Carnatic Flute lessons with a professionally trained flute player so you don’t have to work on unlearning before you really start learning.
Practise what you learn – even if it is for 10 minutes a day. Regularity makes a huge difference in the way you sound.

Conclusion

The flute’s journey into Indian classical music is a blend of ancient tradition and modern innovation. Originally a simple folk instrument, the flute was transformed into a key classical instrument through the efforts of visionary musicians in both the Hindustani and Carnatic systems. Today, both the bansuri and venu are celebrated for their expressive, soulful sound, and they play a significant role in Indian classical music performances.

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