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Chapter  1  

Obeisance to Krishna – master of the Universe

In Indian culture the final aim of human life is considered to be revelation of the
Ultimate Principle. Music is accepted as a means of accomplishing it. In the ‘Shrimat
Bhagwat’ by Maharshi Wyas the science of music is alluded to as ‘Gandharv Veda’.
In this epic Purana, Lord Shrikrishna, his flute playing and its wondrous effect on all
living and non-living beings are described in a very charming manner.

Lord Shrikrishna himself while unravelling the importance of sound and being
connected with self, says to Uddhav:

Like the delicate, slender stem of a lotus flower, in the form of Omkar (sound of Om)
in the heart meditation and contemplation of my name should be done in such a way
that via the life-breath it seeks enlightenment and the link with it should be perpetual
like the sound of a bell. It is evident from this that meditation through the channel of
sound is a path to enlightenment.

Music is created through the trinity of verse singing, instruments and dance. In vocal
music the sound of Omkar carries special significance. In it are contained seven notes,
shruti, aalap, murchhana, and such musical manifestations.

The primary aim of this treatise on the science of flute is ‘meditation through music’.

The origin of Indian music is in Lord Shrikrishna’s flute. Shrikrishna bestowed the
flute with life, articulation, dignity, language, and culture. Not just this but also gave
abode on his lips. Connoisseurs love the flute today as much as they loved it during
the Dwapar era. The ambrosial sound of the flute has won the hearts of connoisseurs!
Just like she is dear to Krishna, she is also dear to connoisseurs.

The flute that resides on the lips of Shrikrishna day and night has such magic in its
sound that it has the competence of creating innumerable raags, colours and raaginis.

Saint Surdas says:

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Hari loves the Murali

Stays always stuck to the mouth, displays many colours
Six raags, thirty-six raaginis, one one variety she sings
Like Hari’s mind is entertained, similarly she entertains us

This means that Hari simply adores the flute. It too eternally lives on his lips. It
entertains Hari and also its connoisseurs by singing a variety of raags and raaginis
created by the union of six raags and thirty-six raaginis.

Murali drew out seven notes from Shrikrishna in such a way that numerous raags
were created through them.

Caressing the Murali on his lips, Shyam plays

Performs Sarang Goudi, Natnarayan, Gauri notes
Krishna arranged Murali’s universe
This Murali speaks many languages
Three grams, twenty-one murchhanas, forty-nine kinds of taans

Muralidhar has established the musical universe of the flute through playing various
grams, twenty-one murchhanas and forty-nine types of taans (rapid succession of
tonal patterns) each and every single thread of this musical universe gets entwined.

This instrument scaled great heights in the Dwapar Yuga only because of the
unbreakable bond between Shrikrishna and the flute.

Just uttering the word ‘Vanshi-Bansuri’ evokes an exquisitely charismatic image of

Lord Shrikrishna, with one leg standing straight behind the other which, bent at knee
rests in front. The left hand is in front of the flute and the right hand behind, while
playing the flute that goes from left to the right on the lips. Lord Shrikrishna endowed
the Indian culture with two important things. One is the primal instrument, ‘flute’ and
the other, the Bhagwatgeeta! Bhagwatgeeta is the spiritual essence of Vedas and
Upanishads that challenges the ordinary people, scholars and savants through
intellectual philosophy! While flute is an instrument empowered with notes and sound
that from times immemorial is capturing the hearts of big-small, ordinary-
extraordinary, poor-rich, women-men! If you look at this instrument, it is so basic,
simple, inexpensive, and easily available, but anyone can easily get completely
submerged in the emotional world created by the sweet sound issuing forth from it.
In the saint-literature there are descriptions of Shrikrishna captivating cowherds and
milkmaids in Gokul, the whole wide world, and in fact even bewitching Gods and
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Goddesses through his flute playing. The distinctive features of his flute playing have
been underlined in many poems. It is worth taking a look at them:

On a leg and a half he plays the flute

Eternal lover is my Master

Shri Eknath Maharaj describes Krishna’s flute playing in his poetry. He says,

The sound of the flute mesmerises when Govind plays the flute
The Yamuna water gets calmer and birds become steadfast
The cattle forget feeding and stand holding tails afloat
Universe cannot contain the sound and Janardan’s disciple is lost

In this abhang (a type of devotional poem) there is description of the effect Krishna’s
flute playing has on the entire universe. Govind’s flute playing has mesmerised all the
beings in the world, the waters of River Yamuna too become slower, birds get still,
cattle stop eating and lifting their tails listen to the sound of the flute. The sweet sound
of Shrikrishna’s flute has pervaded the universe and more. Janardan’s disciple Eknath
is completely engrossed in the experience.

Similarly poet Vaman Pandit in his beautiful alliterative poetry describes in a few
words Shrikrishna’s ambrosial flute playing; the playful partaking of food in the
forest; and the gathering of Lord Shiva and other Gods in the sky to listen as well as
to enjoy watching the scenario.

Many such exceptionally beautiful poems, ballads and abhangs hypnotise us by

depictions of Shrikrishna’s flute playing.

Even in Hindi literature Surdas, Meerabai, etc. many saint poets have given heart-
warming, magnificent imageries of Krishna’s flute. From these descriptions the
impact of this instrument on the public mind becomes evident. Have a look at this
poem by Surdas:

Krishna loves Murali to abandon

Listen oh friend, she makes Nandnandan
Dance variously to her tune
She makes him stand on foot one
Claiming her dominium
She has got delicate Kanhaiyya
Completely under her sway
His waist has become bent
She makes him cavort
And herself on his lips afloat
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And makes him attend to her feet

Gopies say when they see this sight
Murali gets incensed
And provoking him at us makes him frown
But gets him to bow to her again and again

Meaning: Saint poet Surdas has described Gopies complaining facetiously about
Krishna’s flute in this Abhang. Gopal Krishna loves the flute so much that he is
completely under her control. This Murali makes Krishna dance to her tune. She has
taken this delicate Kanhaiyya under her command and has punished him to stand on
one foot. That is why his waist too has become ‘tribhang’ – thrice cleaved. She
herself lays leisurely on his lips. Not just this but also gets him to attend to her feet.
Gopies say that when they see this spectacle, Murali gets upset and provoking
Kanhaiyya makes him look at us angrily. However she gets him to bow to her again
and again.

Actually Saint Surdas has drawn a word picture of Krishna completely engrossed in
playing the flute. By giving the flute a form of a friend, the poet has managed to
create a lovely metaphor.

During the meditative state of playing an instrument, a flutist has the same body
language. Flute cannot be played unless placed on the lips. The movement of fingers
during playing the flute means attending to its feet. In concentration the forehead is
naturally creased with lines and the head also is bowed and moves with the rhythm.

Shrikrishna’s time was the time of Mahabharat. 3000 to 3500 BC. Available research
confirms that in the history of Bansuri playing, there has been none like the ultimate
flutist Shrikrishna! His name is recognised as a flutist in Vrindavan, in Garba dance
form, as well as an independent flute player. This happens to be the description of his
flute playing. However no mention can be found in ancient texts about the length of
the flute that he played, whether it was made from bamboo or metal, how many holes
did this Murali have, nothing!

During the Dwapar Yuga means during Shrikrishna’s lifetime a new form of Bansuri
arose. That era can be termed as the Golden Era of Bansuri. This Bansuri made
reverent by the touch of Lord’s lips pervaded the core of the whole living world.
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There are many myths and images about Muralidhar’s flute playing that are deeply
entrenched in human culture. Before Shrikrishna’s time Bansuri was known as an
accompanying instrument. Lord Shrikrishna for the first time granted her an
independent personality. By showing how powerful is Bansuri’s solo playing he
initiated a revolutionary era in the world of musical instruments. The relation between
Bansuri and Krishna is primeval. This bond is eternal. The heavenly sound of Gopal
Krishna’s Bansuri was capable of mesmerising the corporeal and the inert world, it
was proficient in making the birds and animals dissolve their differences. When
listening to the sound of Shrikrishna’s Bansuri’s, cowherds and milkmaids used to
experience a state of meditation and merging of their souls with the Ultimate Being!

Saint Surdas says in his verse done in a meditative state:

Murali has transformed the strides

Radha-Raman-Krishna plays, three worlds the sound pervades
Calf doesn’t open mouth to suckle
Cow doesn’t graze fodder
Yamuna began flowing in reverse
Even wind stops to listen to Venu
Benumbed turned losing sense
Gods, gandharvas and men-women
Surdas too is full of surprise
Seeing this general condition

Radha-Raman-Krishna’s flute seems to have changed the world’s pace. The divine
sound permeates ‘tribhuvan’ – the three worlds (Heaven, Earth and Hell). Cows
forget to eat and calves forget to suckle. The River Yamuna begins flowing in the
opposite direction. To hear the sound of the flute even the wind becomes still. Men-
women, Gods and Gandharvas also lose their consciousness. The milkmaids of Braj
submerge in sea of joy. Seeing this condition all around even Surdas becomes
awestruck.

We have been reading emotionally drenched descriptions in our Indian saint literature
of the magic brought about by Krishna’s Bansuri on the corporeal and still world.
However it cannot be just a literary truth! That is because the power and impact of
enlightened notes is an eternal fact. Even after Shrikrishna’s time many erudite
artistes have brought home the immense influence of powerful notes. During the lives
and times of King Vikramaditya, Swami Haridas, Baijunayak, Taansen, Meerabai,
Surdas, there are accounts of such miracles happening. Lights come up with the notes
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of Raag Deepak, if Meghmalhar is rendered, rains shower, such affirmations of the

power of notes are found in music literature.

The expanse of Shrikrishna’s Murali’s notes was even more than this. To describe it
in a picture-perfect manner even poetry or verse would be inadequate.

How must this Krishna’s Murali be? What kind of notes issued forth? Cows and other
animals, tigers and lions, deer and rabbits, forget their inborn enmity and engrossed,
listen to the notes of Bansuri, is it then possible that the Bansuri could play only high
notes? According to Zoology and science of sound wild animals cannot bear high
twitter and super-high twitter notes for a stretch of time. So Krishna’s Murali must not
have played only high twitter notes. That means it must not be small in shape.

Listening to that Bansuri, in the minds of cowherds and milkmaids, a feeling of being
submerged in the Paramatma – Almighty used to be evoked, and going beyond that
they used to get drenched in supreme joy listening to the inaudible internal sound, a
stage of samadhi. Which kind of notes did they hear then? Containing a storm of such
thoughts in my mind I began to search for Keshav’s Venu. Read sensational
descriptions of Krishna chronicles by various saint poets. Then one thing became
clear: Krishna’s Bansuri’s capability was not limited to one or two octaves. In such a
condition, which form did she have? No information is available about her size or
shape, the number of holes. But the qualities of her playing and sound are familiar
through many bhajans, goulans, devotional poetry, experiences of Krishna devotees,
and then realisation strikes that this Krishna’s Bansuri must be resounding on at least
four levels such as energetic, sweet, blissful and supremely joyous! That implies that
Shrikrishna’s Murali must have played from high twitter octave through to low base
octave.

Excerpts from poetry of Saint Eknath, Namdev, Dnyaneshwar, Meerabai, Surdas

The sound of your Murali

Heard out of the blue
Ached deep in my heart
Forgot my home and hearth

From this it is felt that this Murali could be heard from very far off and the notes were
sharp as arrows. That means Krishna must be sounding high-pitch notes to challenge
cowherds and milkmaids for a game of Raas.
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In yet another goulan –

Murali’s sound cannot contain in three worlds

Many notes send milkmaids in trance
Birds, deer, cows, tigers, no difference
All chant only one name, Krishna’s

Similarly Surdas says –

Murali on the mouth of Hari

World is still, wind is still, await

Both these lines of verse indicate the effect of Krishna Venu on the entire living-non-
living world. The sound of Murali has permeated the whole earth. The entire cosmos
has forgotten enmity. Cowherds-milkmaids, deer, cows and animals, wind, water of
River Yamuna have as if forgotten their normal tasks. They have merged into Krishna.

These notes that made the cosmos turn inward must have been in middle pitch and
especially low pitch. The power of focussing the mind, desisting from any outward
movement, melting into the notes is more in tune with the notes in the middle pitch.

The notes-potential of Krishna-Bansuri does not culminate here. These notes reached
the limits of audible sound no doubt but the cowherds and milkmaids used to enjoy
the experience of losing themselves in internal sound and submit to supreme joy.

Saint Namdev says –

Vedas, Puranas, Shastras, Ananta gets poets to sing

In a complete cosmos he plays the silent Venu

Krishna used to give the experience of internal sound through super low pitch notes.
This is the supreme joyous level of Krishnavenu.

With the above discussion and comparison of the names and sizes of flutes in
‘Sangeet Ratnakar’ following conclusion can be drawn. Keshav-Venu means Krishna-
Bansuri is a merging of three flutes – one that sings in high and super-high pitch
(Pavri), one that sings in medium pitch (Bansuri) and one that sings in super-low pitch
(Murali). Krishna-Venu must be a combination of these three Bansuris but it must
have been even longer than that due to which her super-low notes (even lower than
low octave notes) that is the Anahat Naad must be capable of bestowing the
impression of internal sound.
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From all these a picture of Krishna-Venu emerged before my eyes and a desire to
create its tangible form took hold of me!
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Chapter  2    

Mother of the Music of the Universe – Venu

Bharatmuni has classified Indian musical instruments in his treatise ‘Natyashastra’.
Most of the instruments can be divided into four types –

1. Tat – String instruments

2. Avnaddha – Percussion instruments

3. Ghan – Solid instruments

4. Sushir – Wind instruments

Sushir means void with hole, means such an instrument where there is a void with
holes, and when wind comes in contact with the void, sound is produced. Right from
the ancient times till now man has traditionally made conch, fife, flute, horn, trumpet,
shehnai, naganoteam, sundari, saxophone, clarinet, and such innumerable Sushir
instruments from naturally existing material and his own ingenuity. Conch and flute
are the most ancient, primordial instruments in the Indian, in fact even the world’s
history. Flute’s original Sanskrit name is Vanshi. It is derived from the Sanskrit word
Vansh. Vansh means bamboo or hollow tube. As she was created from Vansh she was
called variously as Vanshi, Bansi, Bansuri. In our Taitariya Upanishad (Anuwak 6)
there is a mention of creation of the world through Parabrahma’s (Supreme Being)
wish for experience of several through his aloneness.

so kamyt 0kohm
bhu Sya. p/jajey [it
s tpo tPyt
s [d. svR. As<jt
yidd. ik.c |||
Similarly the time frame of origin of the universe according to the ‘Big Bang’ theory
began with a big sound around 100 billion years back when the creation of the
universe began. The Earth was created from the solar system about 40 to 45 billion
years ago. Contact with the space slowly made the Earth cool down. Around 6 billion
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years back oceans and oceanic plant life began. Sea animals materialised 4 to 5 billion
years ago and territorial plant life commenced 1 to 1.2 billion years ago. Around this
time bamboo might have come into existence. Insects and bees drill holes into
bamboos quite naturally. When wind blows through the bamboo jungles many sounds
emerge from them.

When wind used to blow through these holes, the resulting sound of the humming as
if manifested the inner sound of ‘Om’ as ups and downs of audible sound. In the
hands of Vishwamohini this Vanshi emerged as a primal instrument in natural
environment with the sound of ‘Soham Soham’. This naturally occurring Venu’s
lineage is such: family – Bamboo, mother – ‘Earth’, father – ‘cloud’, physical body –
hollow pipe means ‘sky’, soul – ‘wind’ and over time holes made by ‘fire’ signifying
a state sans six infirmities or ego. This way her life story relating to the five elements
can be narrated in short. If one looks at it, conch-shell was probably at the bottom of
the sea even before ‘Vanshi’. However there is no doubt that man found it much after
‘Vanshi’.

Human ancestors such as chimpanzees and gorillas appeared about 10 million years
back. Scientists have concluded after research and study of nature that a manlike
animal walking on two legs (Lucy) might have existed 3.5 million years ago. One
thing that can be said from the above discussion is that naturally occurring Vanshi
existed even before human beings. The early man must have heard the sound coming
from the jungles, especially bamboo jungles. Initially he may have got frightened not
knowing from where the sound came or was it some wild animal? But some
intelligent man must have discovered that the sound emerged when wind blew
through the holes in the bamboo. He may have broken a piece and to apply wind
pressure may have tried blowing through his nose and surprise, surprise! He may have
experienced great joy to replicate the natural sound – ‘Naadbrahma’ – by his touch to
the instrument through his breath! This Vanshi was probably with one hole. During
the initial stages Vanshi-playing was probably with the nose. In one holed Vanshi
when air is blown softly through the hole from the side of the bamboo with the hole in
it with one nostril while closing the other nostril different sounds emerge from it
depending on the air-pressure. Later man may have played with the bamboo found by
opening and closing the second hole with his finger while blowing in it and soaked in
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the pleasure of more kinds of sounds than those emerging from one-holed bamboo.
From here he may have got an idea of many holed Vanshi and lost himself in the
world of her sound.

Though the existence of conch shell predated the bamboo, man may have got the idea
of blowing the conch at a much later time. Also a variety of notes that can be sounded
through a Vanshi cannot be sounded through a conch. That is why the Vanshi – Venu
– that man found is the only nature-given, simple, using nothing but one bamboo,
complete, pleasant sounding primal instrument. After plant life began on the Earth
bamboo-like plant may have been available at many locations. To make Vanshi from
bamboo no technical expertise is required. Not just this but the holes for sound
creation occurred naturally on bamboo, hence in comparison with any other
instrument it was simple, easy, sweet, popular variously found, so must be the original
– first instrument that man made. For example one hole to blow and three to play –
with minimum four holes Vanshi can generate one middle-pitched Octave and many
notes from the high and low Octaves. Man employed the easily available Vanshi in
community dancing with many simple percussion instruments, and along with his
own evolution made many experiments to discover a Vanshi that gave forth different
notes. Such a traditional Vanshi, means with one hole to blow and six or seven holes
to play, has become the foundation of evolving human culture. Not just this, she has a
lion’s share in the established grammar of music. That is why it is proper to term her
as the ‘Mother of the Music of the Universe’.

Vanshi holds a vital position in Indian music from times immemorial. The origin of
this music is much prior than all the other music arts of the world. Vedas are more
ancient than all the music arts of the world. Vedas is the primal literature of the world
and it was preserved and kept alive by oral tradition due to the lack of written art. The
recitation of Sama (Vedic ruchas) known as Samvedsandnya that tends towards
singing is the origin of Indian music.

Late Lokmanya Tilak has shown with proofs in his scholarly treatise Orion – Arctic
Home in the Vedas, that the original habitat of our ancestors Aryas was near the
North Pole. Lokmanya has determined this time frame as 10,000 to 12,000 BC.
Lokmanya has shown that on the Earth in ancient times there were two Ice ages.
Before the first Ice age it cannot be said whether the North Pole was fit for human
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habitation or not. But after the first Ice age was over, it was fit for human habitation.
The Aryas may have inhabited this land for thousands of years. Then the second Ice
age arrived. Now as the North Pole area did not remain suitable for human occupation
so the Aryas descended through Siberia into Central Asia and established their
dwellings on the plateaus there. Along with them they brought the literature of four
Vedas. As the North Pole was inherently cold naturally man needed fire. That was
why during the daily routine it was essential to have fire inspection. That is why fire
was worship for the Aryas. It was an issue of their religion. That was why tradition
was established of fire-worship and Yadnyas. Yadnya is the foundation of Saam
sangeet. In Indian culture during Vedic times every family gave a religious position to
Yadnya and fire-worship. At the beginning of Yadnya ‘Vedic Ruchas’ from Saam-
Saamveda used to be chanted. In this Saam sangeet there used to be three Rutwij
singers and two accompanying on instruments – Venu player and Veena player. Vedic
Ruchas were bound in chhands and sung in Udatta (Nishad and Gandhar), Anudatta
(Rishabh, Dhaivat) and Swarit (Shadj, Madhyam, Pancham) notes. In that the
morning recitation – SaReGaMa, afternoon recitation – PaDhaNiSa’, evening
recitation –Sa’Re’Ga’Ma’ were arranged within the seven notes. Such Saam verse
and the ‘scientific knowledge of music’ were termed as Saamved. These were
preserved through generations by learning from Guru’s oral teachings. Bhagwan
Shrikrishna has considered Saamved as the greatest amongst the four Vedas. In
Shrimad Bhagwatgeeta – Vibhuti Yog – Lord says that amongst Vedas Saamved, and
amongst God-names, Vasava.’ In fact during Saamved times Venu enjoyed the first
place among instruments. The music of the common man during Vedic times was
chanting Saamved. That continued from the Vedic times up to 400 to 600 BC. Saam
singing used to be sung with Ved Rucha aalaps with long notes. In this way Saam
sangeet used to be rendered by the trinity of ‘voice-Sushir-Tant’.

In Saamgayan (singing of Saam) notes are given seven note-names and sequence.
Saam singers accepting the Venu technique must have decided this list as ‘Avarohi’.
The relation between the notes and Venu technique is told in Naradiya teachings. It
says:

The first note in Saamgayan is one that emerges when the Venu is just blown
(keeping all the six holes open) is Madhyam, and later shutting the finger holes in
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order one after the other starting from the first finger hole i.e. the finger hole closest
to the embouchure, second Gandhar, third Rishabh, fourth Shadj, fifth Dhaivat, sixth
Nishad, seventh Pancham are considered. (That means total seven notes become Ma
Ga Re Sa Dha Ni Pa.)

Later Saamved singer-scientists established the Veena technique and changed the
Avarohi order to Aarohi order. Taking the Shadj note as the beginning note, the
Aarohi order was fixed as Shadj, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat,
Nishad (that is Sa Re Ga Ma Pa Dha Ni Sa)

Until now we have seen Vanshi as the most ancient instrument in Indian music right
from her origin. One that emerged from Vansh is Vanshi! Bansi! Bansuri, this is her
word picture! This instrument is known by many names such as Indian Pava, Pavri,
Murali, Venu, Alguj. In Europe flute, piccolo; in Japan Shakuhachi, in Iran Neh, etc.

In olden times she was also called as mouth-Veena. That is because horizontal
Bansuri is held like Saraswati Veena in both hands from left to the right. (Some
flutists hold it in reverse means from the right to the left.) Even the position of the
fingers has to be kept like on Veena. Also in one shlok there is description of the
Goddess Adimaya holding along with other many instruments in her thousand hands a
Veena in one hand and a mouth-Veena in another. There are many ancient forms of
Bansuri from one-hole Vanshi to multi-hole Vanshi. The early man enjoyed the
pleasure of creating many sounds and hues in her.

With time Bansuri’s form kept on changing and improving. The original form of
Bansuri is horizontal. As, it naturally occurs in that form. However it is difficult to
play. That is why for ease of playing man later on made an upright Bansuri. Such a
vertical Bansuri is tougher to make than the horizontal one. During the time before
Saamved man must have realised that for high and low sounds as well as for
accompaniment many notes are required and with that realisation he must have begun
efforts in that direction.

The greatest contribution of Indian music in ancient times or the most important
valuable mission of Bansuri was the establishment of notes! At that time as a
standard Vanshi’s Aarohi Octave was for the first time linked to the Vedic Octave. It
is given below:
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Octave in ancient time and names of notes

Ser. No Vedic Octave Venu Octave Modern Octave

1 Pratham Madhyam Ma

2 Dwituya Gandhar Ga (flat Gandhar)

3 Tritiya Rishabh Re

4 Chaturth Shadj Sa

5 Pancham Dhaivat Dha

6 Atinote Nishad Ni (flat Nishad)

7 Krishta Pancham Pa

Table 2.1

In this way from the time of Saamved the form of Bansuri was determined as one hole
for the mouth to blow i.e. the embouchure and six or seven finger holes for note
generation. Generally in traditional Bansuri six holes are for note generation and the
seventh is for tuning. That is why it is termed as traditional Bansuri. With such a
traditional Bansuri two Octaves can be easily played. (Diagrams 2.1-1 to 2.1-11 and
DVD) Closing all the six finger holes and slowly blowing will produce Pancham note
in Mandra Octave, and gradually opening one by one hole from the bottom shuddha
Dhaivat, shuddha Nishad from Mandra Octave and from Madhya Octave Shadj,
Rishabh, Gandhar and teevr Madhyam; this way one Aarohi Octave is complete.
Teevr Madhyam is played when all the six holes of the Bansuri are kept open.
Keeping sixth hole half open and the remaining five completely open produces
Shuddha Madhyam. Then blowing hard (means twice as hard) and opening and
closing with the fingers will play the second Octave. To produce notes from the
Octave beyond this means for ‘Dha’, ‘Ni’ (Taar Octave) and ‘Sa’ ‘Re’ Ati-Taar
Octave, strong blowing that means three or four times stronger has to be done. (See
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diagrams 2.1-12 to 2.1-15 and DVD) (Madhyam and Pancham notes can be played
with the help of the little finger thus on a Bansuri with seven finger holes. It can be
used to keep continuity in two Octaves. Students should study these diagrams)

This method is used to produce Shuddha notes on traditional Bansuri. However while
crafting the Bansuri if the finger holes are not made at the correct places or if their
diameter is wrong then even Shuddha Octave cannot be played in tune on the Bansuri.
Then the Taar and Ati-Taar Octaves would be even more difficult to play in tune!

Along with Shuddha notes, Komal notes are played with the finger hole half open.
The method to play Komal notes is shown in diagrams. (Diagrams 2.1-16 to 2.1-24
and DVD)

Note: According to the raags, Shruti (microtones) of Komal notes can be played by
opening a finger hole farther or less. Generally the hole is closed three-fourth for
AtiKomal, half closed for Komal and one-fourth closed for higher Komal. Students
should utilise this also by using the tips of fingers.

Note: while playing Komal notes on Bansuri, one has to be careful that along with the
half open holes the closed holes do not remain open allowing air to leak from them.
Otherwise the Komal notes do not sound clear and pleasant to the ear. In this way on
Bansuri in two Octaves Shuddha, Komal and Teevr, 24 notes and in two-and-half
Octaves 30 notes can be played. Half a Octave (Shuddha Dha’ Ni’ Sa’’ Re’’ and
Komal Dha’ Ni’ Re’’) as shown in diagram 2.1 and in DVD are played by combined
effect of cross fingering in a certain way on the Bansuri and four-times strong
blowing.

In this way with half-normal blowing Half Mandra Octave is played, while blowing
normally, twice and four times stronger will give respectively Madhya, Taar, Atitaar
the second higher Octave. Normally from the traditional Bansuri vocal likeness of
half Mandra Octave, full Madhya and Taar Octave and one-fourth Atitaar Octave;
such two and half Octaves can be produced. Like –

Figure of 2 and half octaves Page 11

 16

Some flutists easily express ‘Dha’ ‘Ni’ ‘Sa’ ‘Re’ or ‘Dha’ ‘Ni’ (Taar Octave) or Sa’
Re’’ (Atitaar Octave) by practice and skill but do not keep their fingers as shown
above. Change from the aforementioned method in Bansuri tuning and playing Komal
notes should be preferably done by sitting in front of a Guru. For this kind of note
producing different way of cross fingering has to be adopted. What this means is that
some flutists can play the Bansuri up to two and half Octaves. Generation of ‘Dha, Ni,
Sa Re’ needs four times harder blowing.

Pages 12 to 19 - Diagram 2.1

Notes

1. The pressure of blowing for producing notes

§ Light blowing – half normal blowing – Kharja Octave

§ Medium blowing – normal blowing – Madhya Octave

§ Strong blowing – double normal blowing – Taar Octave

§ Very strong blowing – four times normal blowing – Atitaar Octave

2. As shown in the diagrams from Kharja Pancham note till Atitaar Rishabh, the
positioning of left and right hand fingers is identical in vertical Pavri (flute),
traditional Bansuri with six finger holes, Pannalal Ghosh Bansuri with seven
finger holes and Keshav-Venu with eleven holes.

3. The notes produced through the seventh and following that 8 – 9 – 10 – 11

finger holes is explained in Keshav-venu Chapter 7, diagram 7.3.

4. For the seventh hole use of the little finger or lever, for the eighth thumb and
for the 9th, 10th and 11th note holes with the help of levers and remaining using
little finger and thumb: students can follow this technique by using the book,
Concept of Keys (Chapter 19) and DVD.

5. Komal notes and their many high and low Shrutis can be generated by opening
and closing the holes with fingertips corresponding to those notes. These
should be studied in the presence of your Guru.

6. The notes Teevr Taar Madhyam and further Atitaar notes need to be produced
by ‘cross fingering’. At such times the position of fingers on the note holes
 17

can change as per the construction of the Bansuri. However given diagrams
generally will prove useful for most Bansuris.

7. As described in details in this chapter the flutist should remember that along
with the position of the fingers the pressure of blowing also plays important
role in producing notes.
 18

Chapter  3  

Sound theory in Bansuri

We learnt about the notes produced by traditional Venu meaning Venu with six finger
holes in Chapter 2 with diagrams. From this Bansuri normally two Octaves can be
played. We also saw that the next Octave can be produced by cross fingering and four
times strong blowing. Similarly we learnt about the vital contribution of Venu in
fixing of notes, and the correlation between Vedic Swar Saptak described in Naradiya
texts, Venu’s Avarohi Octave and modern Note Octave. In this establishment of
Notes, the Veena of the Vedic times also has a majority share; so let us look through
the perspective of science of sound at the correlation between the important
contribution of Venu and Veena.

Venu and Veena come under Sushir (wind) and Tat (string) types of musical
instruments respectively. The different vibrations of sound produced by Venu,
meaning different Notes depend mainly on the length of the air column (L), the
pressure of blowing (P), the density of the air column and the velocity of molecules.
The formula is:

1
!". !"  !"#$%&"!"# ∝  !ℎ!"!  ! = !"#$%ℎ  !"  !"#  !"#$%&  &  !  !"  !"#$%&#%  
!

!". !"  !"#$%&"'() ∝ !  !ℎ!"!  ! =  !"#$$%"#  !"  !"#$%&'  &  !  !"  !"#$%&#%

In short if the length of the air column is increased or the length of the Bansuri is
increased and the blowing pressure is kept constant then we get notes with lesser
vibrations (tending towards Mandra or low octave). Conversely if the length of the air
column or Bansuri is reduced then we get notes with higher vibrations (tending
towards Taar or high octave). Similarly if the length of the air column or the Bansuri
is kept constant and the blowing pressure increased, then the number of vibrations
increases and higher notes are produced, while if blowing pressure is decreased then
many lower notes are produced. Varying the blowing pressure changes the velocity of
the molecules in the air column and consequently the number of vibrations too varies.
 19

In addition keeping control over the blowing pressure, notes with different harmonics
can be produced keeping the length of the air column constant. (Refer to Diagram 3.2)

Yet another important element of the Bansuri is its diameter. With the length constant
and bigger diameter, the void increases; as a result the volume of the air column
increases. Hence even if the number of vibrations stays the same, the amplitude
increases, and a much deeper tone is produced. Conversely if the diameter is
decreased, then even if the number of vibrations remains the same, as the amplitude
of vibration decreases resulting in shallow tone.

In case of Veena, the number of vibrations per second of the string and the various
notes thus produced depend on four main attributes; the length of the string, its
diameter, the metal density, and the tension on the string. The formula is:

!
!". !"  !"#$%&"'() ∝ !"#$%!  !"  !"#$%&   (Density, Diameter, Tension constant)  

or

!
!". !"  !"#$%&"'()   ∝ !"#$%  !"#$%&' (Length, Diameter, Tension constant)

or

!". !"  !"#$%&"'() ∝ !"#$%&#  !"  !"#$%& (Length, Density, Diameter constant)

Diagram 3.1 and 3.2 – Pages 22 and 23

So when the distance between the bridge and a particular point of the note played on
the string is more, lower notes are produced; as the distance goes on decreasing the
notes go on to higher octaves i.e. Madhya and Taar Octave. Now keeping the tension
on the Veena string and the metal density constant (means using the same metal),
increasing the string diameter will produce lower notes and decreasing the diameter
will produce higher notes. If density is to be considered, then to increase it very fine
string is wound around the main melody string. With this the diameter does not
increase but the density does. This kind of string is used to produce lower notes.
 20

Keeping the length of the string, density and diameter constant and increasing the
tension gives higher vibration notes. That is why tightening the peg to increase the
tension on the string give higher notes. Whereas, loosening the peg to decrease the
tension on the string give lower notes than before. However in Veena all these
controls are in visible form, while in Bansuri after one Octave the notes change due to
the effect of changes in the blowing pressure, but the control is in invisible form. That
means notes (harmonics) in Madhya and Taar Octave are produced keeping the length
same. (Diagram 3.2)

Thus it can be seen that along with Venu even Veena’s contribution in establishing
the grammar of Indian music is very important. In this way both instruments Veena
and Venu have enriched not just Indian music but also the music of the world and
have a majority share in setting the grammar of the music and instrumental music.

The journey of these two instruments from Vedic times to the Dwapar Yuga took
place to the accompaniment of the Saamgayan in the Yadnyas, folk tunes and folk
dances.

Diagrams 3.3 and 3.4 – Page 24

We saw the correlation between Bansuri, Veena and the science of sound. Now let us
see how sound is produced through the Bansuri. That is because the flutist needs to
know some fundamental principles to be able to play as well as to manufacture
Bansuri.

Generation of sound in instruments depends on 1) The generator and 2) The resonator

– one that resonates the sound to make it audible. In case of Bansuri these elements
are 1) Its embouchure (blowing hole) and 2) Its hollow tube.

§ When the flutist blows into the embouchure, the air hits on the opposite edge
of the hole and as shown in the diagram vibrates in and out with speed. Due to
these vibrations near the embouchure of the Bansuri, pressurised and empty
(no-pressure) air spaces are created, the frequency of these is determined by
the distance between the mouth of the flutist and the rim of the mouth hole.
Due to this air pressure compression and rarefaction of the air column in the
hollow tube of the Bansuri happens. And then the column begins to contract
 21

and expand like a spring at its natural frequency. Thus the kinetic energy of
the air blown into the embouchure is converted into sound energy. However
for all this the angle of the blowing has to be perfect. Unless this angle is right
the blowing is wasted and sound is not produced, as air does not vibrate with
natural frequency. Later the flutist has to maintain the pressure of the blowing
to keep the sound steady. Suppose with the lowest blowing pressure this
produces a base note ‘Sa’ (fundamental note).

§ When the flutist goes on reducing the angle of his blowing while increasing
the blowing pressure, the distance between the mouth and the rim of the
embouchure decreases and the air velocity doubles, resulting in a note with
twice the frequency. So if the first blowing gave the base ‘Sa’, now ‘Sa’ in
Madhya Octave will be produced.

§ Later reducing this distance successively while increasing the blowing

pressure three times, four times, then third Madhya Octave Pa, fourth Taar
Octave Sa’, fifth Taar Ga’, further Taar Pa’, Taar Ni’, Atitaar Sa’’, Atitaar
Re”, Ga”, Ma’’, such eight to ten consonant notes in three-three and half
Octaves can be produced. (Diagram 3.2)

§ This creation of consonant notes can be increased up to nine to ten notes.

However for this, pressure of blowing, the distance and the angle between the
rim as well as the diameter of the aperture, the relation between the diameter
of Bansuri’s hollow tube and its length, the distance between the centre of the
embouchure and the surface of the closed tube and its diameter, the thickness
of the Bansuri at the embouchure, and the thickness of Bansuri at the finger
holes; all this arithmetic has to come together perfectly. (Diagram 3.3 and 3.4)

§ To produce these consonant notes the hollow tube needs to have finger holes.
Depending on the number of vibrations of each note, at a proper distance from
the embouchure at least three or more meaning six, seven, eight… increasing
the finger holes in this way on one single Bansuri, the notes limit can be
extended from one Octave up to two, three Octaves and further with cross
fingering one more Octave can be added. This way notes up to four Octaves
can be produced.
 22

§ With the lowest blowing pressure for a Bansuri with ‘L’ length, ‘f’ frequency
of the fundamental note whose length is taken as ! then the relation is given
by the formula: (Diagram 3.2)

!"#
!= !
where 340 meter per second is the velocity of sound

and

! = 2!

340
∴!=  
2!

!"  

340
≅!=
2!

here the minute reduction in length due to embouchure and inner diameter of
Bansuri is not considered. Actually ! > 2!. This length ‘L’ can be adjusted by
cutting in the correct meausre while tuning the Bansuri.

Now let us see how the length of the Bansuri can be determined according to the
frequency of the notes, by using formulas from the sound theory.

Example 1:

To make Keshav-venu of ‘White (safed) three (base) note what should be the length
of the bamboo? The Shadj of Madhya Octave Safed three has frequency of 329.6Hz.
(Table 3.1) In Keshav-venu when all the 11 finger holes are closed the base Shadj is
produced.

∴ Safed three Kharja means half its frequency

329.6  !"  !"#$%&%'"

= = 164.8  !"#$%#&'(
2

∴ ! = 165  !"#$%#&'(  (!"  !  !ℎ!"#  !"#!"#)

According to formulas from the science of sound:

 23

340 340 340

!= = = !"#"$% = 1.03  !"#"$%
2! 2×165 330

= 40”

From the knot at the top till the free end the minimum length of the bamboo should be
1.03 ≅ 1.1 Meter means 42”. The inside diameter 1” and the length behind the knot
near the embouchure 2”, so the bamboo should be total 44 inches long for best results.

Example 2:

What should be the length of bamboo to make Safed three Madhya Octave Shadj
notes, in traditional six finger-holes Bansuri? In traditional Bansuri when all the six
finger holes are closed, base note Pa is produced. The frequency of the Madhya
octave Sa is f = 329.6 Hz

∴ !"#$%#&'(  !"  !"#ℎ!"  !"  !"#$, ! = 329.6 ≅ 330!"×1.5 (the frequency of the
Pancham note in Madhya Octave is one and half times that of Shadj note)

∴ ′!"#ℎ!"  !"#$"%  !!! ≅ 445!"  !"#$%#&'(

∴ 50%   445  !" = !  ′!ℎ!"#  !"#$"%  !"′ = 222.5  !"

340 340 340

∴!= = = = 0.70  !"#"$%
2×! 2×222.5 445

= 27.5 cm

From the knot at the top till the free end the minimum length of the bamboo should be
0.75 Meter means 29”. The inside diameter 1” and length behind the knot near the
embouchure 2”, so the bamboo should be total 31 inches long for best results.

Some fundamental rules to make bamboo Bansuri:

§ The minimum wall thickness (width) of the bamboo 1.5 mm (1/16 inches) and
maximum 2.5 mm (3/32 inches). In bamboos thicker than this more strength is
required to blow for a long time and the flutist can get tired. That is not proper
for long concerts.
 24

§ As shown in the above examples the length of the Bansuri should be

determined and correct bamboo should be chosen.

Table 3.1

Shadj note Frequency Hz Proper inner European term

diameter ±  ! mm for the note

Safed 1 261.62 34 C

Kali 1 277.18 32 C sharp

Safed 2 293.66 30 D

Kali 2 311.12 28 E flat

Safed 3 329.62 26 E

Safed 4 349.22 24 F

Kali 3 369.99 22 F sharp

Safed 5 391.99 22 G

Kali 4 415.30 20 A flat

Safed 6 440.00 19 A

Kali 5 466.15 18 B flat

Safed 7 493.88 17 B

Note: For Bansuri with higher notes, choose a bamboo with smaller internal diameter.
Madhya Pancham note is 1.5 times of the Shadj note and Madhyam note is 1.33 times.
 25

§ The recommended size for the embouchure is 11 to 11.5 mm (7/16”). With

that the qualities of sound of the Bansuri, tunefulness, and Octave capacity are
enhanced. A slightly bigger embouchure gives deep toned good modulations
of sound, but it takes more strength to play. The Octave capacity remains two
Octaves or less. Even an oval embouchure is also a better option. (Diagram
3.5 – alternative embouchures).

Diagram 3.5 Page 28

§ Finger holes of diameter 9 mm (3/8”) to 11 mm (7/16”) are the best suitable

for opening and closing for Shuddh-Komal notes, Meend – Ghaseet, flat taans,
as well as clarity of notes. For flutists with thicker fingers, diameters up to 12
mm (1/2”) are suitable. Moreover such bigger holes are good for Kharja
Bansuri or full textured notes. To keep the length of the Bansuri under control,
there is no need to puncture all the finger holes in one straight line. As per the
convenience of the player make a hole in the bracket at the correct distance
from the embouchure and make it bigger till it is in tune with the note. The
finger holes to be played by little finger and thumb should be of diameter 6
mm to 8 mm (1/4” to 5/16”). Holes wider than these make it difficult for the
player to open and close. Holes smaller than these reduce the clarity of the
notes especially Komal notes. However sometimes to get the hole within the
range of the player’s fingers, the hole can be moved closer to the embouchure
while making it smaller. At such times a 2 to 4 mm thick bamboo piece can be
stuck to the Bansuri on the outside with Fevicol and a bigger right diameter
finger hole can be made.

§ Generally finger holes in one straight line are more appropriate for swift
movement of fingers.

§ Bansuri cork: Normally Bansuri that is closed on one side with natural knot is
the best. While making such a Bansuri, the embouchure has to be made
skilfully. Later on it is not possible to increase or decrease the distance of the
embouchure from the closed surface and the sound of Bansuri cannot be
improved, but it is possible to adjust with cork.
 26

Take a stopper about 1mm wider than the internal diameter of the Bansuri or
minimum 10 mm thick cork and plug it airtight in the tube. If air is leaking out
of the cork then first fix it in the right place and then make it airtight with
candle wax. The inner surface of the cork should be at a distance of two-third
of the inner diameter of the Bansuri from the centre of the embouchure, then
the Bansuri can play in three Octaves very well. If the distance more than this,
meaning equal to the inner diameter or more then there is a possibility of the
third Octave being out of tune. Lesser distance, meaning the surface of the
cork at a distance of ½ of the inner diameter will give a Bansuri with a
capacity of two to two and quarter Octave. However ‘Kaku’ effect can be
better in this case.

Notes:

1. To begin with decide which kind of Bansuri you wish to make.

2. Determine the note of complete length and its frequency (f).

3. Then as per the mathematical formula L: 340/2f calculate the length of the
Bansuri.

4. Fix the inner diameter of the Bansuri as per the ratio L/D

5. For the cork and as per the requirement of the number of finger holes take a
bamboo piece of length ! ÷∝ with D as its inner diameter and from the
centre-point of the embouchure determine the centre-points of finger holes and
tuning hole.

6. On the bamboo draw a central line from the centre of embouchure and make
marks for the centre-points of the finger holes and their brackets.

a. !/! ≅ 4% traditional Bansuri with six finger holes

b. D ! ≅ 4%+∝ (about 7.5 to 10 cm) Pannalal Ghosh Bansuri with 7 finger

holes

c. ! ! ≅ 2.5% Keshav-venu with 11 finger holes

7. The length of the Bansuri is determined by its lower most note that is the base
note. Traditional seven hole Bansuri or Pannalal Ghosh eight hole Bansuri
should have the ratio of Bansuri’s inner diameter and length as 1:25 or 1:30,
 27

means about 4%. For Keshav-venu this ratio is 1:40 or 2.5%. If the inner
diameter is bigger than that then the Bansuri plays very well in Kharja or Base
note Octave but does not speak in Taar Octave (twitter and high twitter
octave). Conversely if the inner diameter is lesser then the Bansuri is good for
Taar Octave (twitter and high twitter octave) but not suitable for Kharja
Octave (Base octave).

Bansuri Design:
Bansuri’s primary designs are given in three diagrams above. The distances of finger
holes from the embouchure are given as ratios in relation to the length of the Bansuri.
These distances are from the centre of the embouchure to the centre of each note.

Important principles to make Bansuri:

1. Finger hole near the embouchure … high note/ sharp note

2. Finger hole far from the embouchure … low note/ flat note

3. Big finger hole … high note/ sharp note

4. Small finger hole … low note/ flat note

5. As one goes on opening the finger hole towards the embouchure, successively
higher notes are produced. Conversely when one goes on closing the finger
hole towards the embouchure successively lower notes are produced.

6. When the wall thickness of finger hole is increased the note lowers down.

7. When the wall thickness of finger hole is decreased the note rises up.

8. Embouchure big, higher note

9. Embouchure small, flatter note

10. Embouchure thicker, lower note

11. Embouchure thinner, higher note

 28

Steps to make/ tune Bansuri according to the above sound principles and rules:

1. Choose a bamboo according to notes. (Length, diameter, thickness) Keep the

length one to two inches more than required. (Determine the length of the
Bansuri and the inner diameter by the ratio L= 340/2f)

2. Tune the taanpura to the keynote meaning the note Shadj (Sa) for which the
Bansuri has to be made along with its Pancham/ Nishad or Madhyam.

3. Make an embouchure depending on the Note and the type of Bansuri amongst
the above three. (i.e. for traditional flute tune ‘Pa’, for Pannababu flute tune
‘Teevr Ma’ and for Keshav Venu tune ‘Sa’.)

4. Seal airtight the side of the embouchure of the Bansuri.

5. Blow softly on the Bansuri and to synchronise the taanpura note with the
Bansuri note reduce the length of the Bansuri away from the embouchure and
match it with the note. (This can be done along with the tuning hole.)

6. Draw a pencil line from the top of the Bansuri up to the end.

7. According to the type of the Bansuri mark the centre points of the finger holes
and establish brackets on those spots of the Bansuri.

8. Now starting from the lower end of the Bansuri successively make finger
holes up to the embouchure. Remember that unless the first finger hole is
completely tuned with the note, do not make the second hole. For this make
the Bansuri stepwise as per the principles and rules laid down above.

9. Ensure that the finger holes do not become too big (i.e. more than 11 mm and
in extreme case 12 mm maximum).

10. After making the first three holes, play raags of Shuddha-Komal notes using
the notes again and again. Correct the finger hole sizes by polish paper
pursuing the right tunes.

11. Do not complete the Bansuri in one sitting. For at least 8-15 days again check
out and review the Bansuri notes. That is because we do not maintain the same
blowing pressure or angle of embouchure of Bansuri to the lips while playing.
If these are kept steady then a well-tuned Bansuri will get made quicker. With
practice Bansuri can be made in one sitting.
 29

12. By successively making the finger holes and playing many raags on the
Bansuri, exploring the notes, complete the process of Bansuri making and
tuning.

13. Polish it to a perfect shine with fine sandpaper. (Wood polish paper No. 100
and 120, water polish paper 8-1000)

14. Do gutting.

15. To make a Bansuri, knowledge of Shrutis of various notes is vitally important,

so per raags it can be made melodious. With practice of many years of
experience it can be tuned to maximum perfection. It is not possible to make
100% tuneful Bansuri. It is essential that it be close to the tuneful melodious
notes so that the Basuri will play musically tuneful with minor variations of
the blowing pressure.

Method of drilling tuning hole

To make a Bansuri of specific notes, its length and inner diameter needs to be
determined by mathematical formula L=340/2f. However if the inner diameter is
more or less or if the shape of the bamboo is tapering, oval, etc. then the length of the
Bansuri changes accordingly. For this ‘tuning hole’ proves very useful. To do this
take a bamboo at least 30-40 mm more than the one determined by the formula. At
about 10 mm distance behind the length calculated by the formula, i.e. towards the
embouchure make a hole of 6 mm diameter.

Now tune the taanpura and while gradually making the tuning hole bigger
synchronise the Bansuri note with the right tune.

***

Right from the time of Saamved, in Bharatmuni’s Natyashastra written during 300 –
400 BC, similarly in Sangeet Ratnakar written by Sharangdev, plenty of information
about Vanshi is given. With reference to this even if detailed scientific information is
not there, while making Vanshis with different Notes which kind of measurements
were taken before the thirteenth century? What differences in notes occur in
comparison with other Vanshis, etc. information is given in minutiae. However
compared to today’s measurement system this information seems cursory. For
 30

example, Vanshi’s hollow tube – Vansh (bamboo) should be straight and circular. It
should be smooth, without knots, cracks, holes and should not be chipped. The inner
diameter of the Vansh should be equal all along the length, the size of little finger.
The embouchure should measure one angul and the finger holes of size of a cherry
seed. From the topside of the Vansh the embouchure should be made at a distance of
two, three or four anguls. Further at a distance of one angul the Taar or high note
finger hole should be made. The other seven holes of the Vanshi should be kept each
at half angul intervals. At the bottom of the Vansh, a stretch of two-angul measure
should be kept free of holes. In short, one embouchure, seven finger holes, and eighth
hole for tuning and to let the air out. If the distance between Vansh’s embouchure and
Taar hole is successfully increased by one angul length, as per following equation, 15
Vanshs with various sizes would be there. Here the unit finger is in today’s units:

a) 1 Angul = 3/4” or 7/8” i.e. average width of the male thumb

= 20 mm or 22 mm

b) Cherry seed = 1/4” or 3/8”

= 6 mm or 9 mm

Note: Ekveera Vansh is normally 14 angul long meaning 9” (23 cm) long with
diameter ¾  inches (2cm) while Ashtadashangul Vansh is normally
!
47 !  angul  meaning 36 inches (92cm) long with ¾ inch (2cm) diameter. The other

bamboos in the formula have sizes between these two Vanshs and they play in
complete two Octaves with successively lower Notes. The minute units of length (jav,
lav, etc.) described in ‘Sangeet Ratnakar’ have not been considered in the above chart.
There is no significant difference in the length due to this.

Many such Vanshis are described in Sangeet Ratnakar. As per modern measurement
units the Ekveera Vanshi is 9” (23cm) and the Ashtadashangul Vanshi is 36” (92cm).
In addition Sangeet Ratnakar also considers some extra Mandra or difficult to play
Vanshis. These are Ekonvinsh Vanshi (50 ¼ anguls long), Murali (52 ½ anguls long),
Ekvinsh Vanshi ( 55 5 16   anguls), Shrutinidhi ( 58 1 2 anguls). However it is
 31

impossible for the artiste’s fingers to reach the finger holes and scholars did not
acknowledge them due to extremely low i.e. inaudible sound. Not just this, but which
giant flutist’s hands would capture the finger holes? (Means would reach?) Such
negative questioning has made those Vanshis unusable for playing. That shlok from
Sangeet Ratnakar is as follows:

vK5e fUTkarr.2/S4e kSy va ivttak<te:

Svrr.2/a~yaPnuyatamip dI6RtrO krO

Table of Vanshis of various sizes and notes as given in Sangeet

Ratnakar and their comparative order with notes of harmonium and
western scale.

Table No 3.2

No Distance Full Vansh Note played (when Harmonium

between length name all finger holes note
embouchure in closed)
& closest anguls
finger hole Sangeet Weste
Ratnakar rn
scale

1 One angul 14 Ekveera Taar Sa C4 Safed 1

High
Octave

2 Two anguls 15 Umapati Madhya Ni B3 Safed 7

3 Three anguls 17 Tripurush Madhya A3 Safed 6

Dha
 32

4 Four anguls 18 ¼ Chaturmu Madhya Pa G3 Safed 5

kh

5 Five anguls 22 Panchvakr Madhya F3 Safed 4

a Ma

6 Six anguls 24 Shanmukh Madhya Ga E3 Safed 3

7 Seven anguls 26 Muni Madhya Re D3 Safed 2

8 Eight anguls 28 Vasu Madhya Sa C3 Safed 1

Mid
Octave

9 Nine anguls 30 Naathendr Mandra Ni B2 Safed 7

a

10 Ten anguls 32 Mahanand Mandra A2 Safed 6

Dha

11 Eleven anguls 34 ½ Rudra Mandra Pa G2 Safed 5

12 Twelve 37 Aditya Mandra Ma F2 Safed 4

anguls

13 Fourteen 39 ¼ Manu Mandra Ga E2 Safed 3

anguls

14 Sixteen 43 ¾ Kalanidhi Mandra Re D2 Safed 2

anguls

15 Eighteen 47 ¾ Ashtdasha Mandra Sa C2 Safed 1

anguls ngul Base
 33

Octave

Description of Vanshis: Reference Sangeet Ratnakar

From this one thing is proved and that is: after Shrikrishna Bansuri had evolved.
Bansuri’s technique had evolved. Shrikrishna’s time was 5200 years back, whereas
Bharatmuni, Sharangdev (Sangeet Ratnakar) time was respectively 2300 years back
and 700 years back. With the passing of time the names of the Bansuri players and the
method of playing solo Bansuri must have vanished and the Bansuri technique must
have remained limited as musical instrument of accompaniment, background music
for orchestra and stayed thus. Murali, Shrutinidhi Bansuri in today’s measurement
units are respectively 42” (107 cm) and 48” (122 cm). Those were discovered by
earlier flutists and played, but why the expert musicians did not approve of its Mandra
sound could be a subject of an independent enquiry and reseearch.

On this background in the 20th century Pandit Pannalal Ghosh’s contribution to flute
sparkles as that of a Yugpurush (Icon of an era) after Lord Shrikrishna. Whenever
Bansuri is mentioned, the eternal relationship between Bansuri and Shrikrishna
flashes in our mind. Of similar significance in Indian music is the unparalleled work
done by Pannababu on Bansuri as an instrument, and the resurrection of this
instrument that was once upon a time heartrending, paramount but had become
secondary, neglected. For this monumental task if he is termed as ‘Bansuri’s
Yugpurush’, it will not be an exaggeration. We will be studying his work and learning
about his life.

We have learnt in details about the science of sound in Bansuri. As this is a Sushir
(wind) instrument, by controlling the blowing and with skill how many miraculous
and distinctive effects can be accomplished is seen:

§ Tantkari: by touching the top front teeth by the tip of the tongue ‘tuh – tuh –
tuh – tuh’ or ‘tak – tak’ or ‘tak-takat kat-katat’ or ‘takat-kat-kat katat-tak-tak’
such fascinating, sound-rich, rhythmic expressions can be achieved.

§ Vanishing note: with extended blowing, a note that is initially clear and full
can be turned at the end of the blowing by moving the embouchure near the
lips, into soft note that slowly fades away
 34

§ Note that is slowing approaching or going away: for this flutist’s distance
from the mike or the position of the neck needs to be changed.

§ Echo: by going close to the mike and then playing the same note by moving
away can create an impression of an echo. However for this the judgement of
the distance and control over the blowing pressure has to be accurate.

§ Creation of many consonant notes: by carefully increasing the pressure of

blowing to once, one and half times, twice, four times; consonant notes from
two or more close Octaves can be produced.

§ Meend-Ghaseet: by moving the Bansuri in front of the lips, inside and out, or
by moving head on the embouchure back and forth, rise and fall of half a note
can be achieved. Similar effect can be achieved by slowly opening and closing
the finger holes one after the other with fingers, to play meend/ ghaseet
between two notes, as per the raag.

§ Gamak: by touching the expected note by a note higher or lower (as per the
raag) with meend-rich tatkar, gamak-rich note is produced.

§ Sargam taan: with the help of tantkari s suited to the raag, by free/
ornamental note this effect can be achieved.

§ Note-shruti: by precisely closing/ opening the finger hole by the tip of finger,
as per the raag, the perfect shruti note can be produced by control of the
blowing pressure.

§ Ka-ku effect: for this the embouchure has to be 0.5 mm bigger or oval in
shape. However this limits the Octaves that can be played on the Bansuri. This
effect can also be achieved by widening the finger holes. For this the blowing
has to be with full pressure. By making the distance between the lips more or
less, this effect can be achieved.

§ Note-push: the note that has to be pushed should be kept long and by playing
two or three note higher (as per the raag) the note can be pushed.

§ Singing along with Bansuri: by choosing a Bansuri matching to your natural

notes some singing can be demonstrated.
 35

§ Bird-cries: peacock, kokil, bharadwaj, pavsha, bulbul, sparrow and such

many bird cried can be studied and by choosing appropriate Bansuris these
cries can be reproduced.

§ Oscillated note: by moving the embouchure over the lips inside and out or by
moving finger-tip like an oscillation on the specific finger hole or by moving
head back and forth over the embouchure, an oscillated note can be produced.
 36

Chapter  4  

Icon of an era – Pandit Pannalal Ghosh

During Vedic period Veena and Venu, two instruments carried out the important task
of establishing musical notes. During the Saam-gayan that took place during that time,
Veena and Venu were accompanying instruments. As per the musical hierarchy
during those times, Venu had a very high position. Venu used to play a very important
role as accompaniment in Saam-gayan and folk music.

Vedic times means 10 to 12 thousand years ago. During that time Saam-gayan used to
be sung to the accompaniment of Venu. After that, up to Bharatmuni’s period means
about 2300 years ago and later Sangeet Ratnakar period (Rishi Sharangdev) about 700
years back Venu playing was restricted to accompanying dance-drama, folk music,
orchestra and such artistic expressions. Even today flute is mostly played as an
accompaniment to orchestra, cine-music, dance, drama. One exception to all this was
about 5200 years ago during Lord Shrikrishna’s period when Bansuri was famous as
an independent solo instrument.

After Krishna’s time if investigation about Bansuri’s musical status has to be done
during Bharatmuni’s period or Sangeet Ratnakar period then it is seen that once again
Bansuri was relegated to being an accompaniment. However there is a mention that
during Bharatmuni’s times the flutist enjoyed a position of importance in an orchestra
and the flutist used to direct the orchestra. Also during both these periods it can be
seen that there were a lot of improvements in Bansuri’s external form. Flutists used to
employ Bansuris of various sizes and with five to nine holes. ‘Ekonvinsh Vanshi’,
‘Murali’, ‘Ekvinsh Vanshi’, ‘Shrutinidhi’ and such many different Vanshis were
prevalent in those times. Their lengths were from 50 ½ anguls up to 58 ½ anguls
means 40” (102 cm) to 48” (122 cm). Detailed descriptions of such Bansuris can be
found in Sangeet Ratnakar. However the names of the makers or players of these
Bansuris are not available. Of course taking into consideration the measurements of
these Bansuris they were of extremely low notes (Ati-kharja Notes) and it is obvious
that such solemn tune Bansuris were played during background music in dance-
 37

dramas and to evoke rasas and emotions. Verses with such meaning exist in Sangeet
Ratnakar.

We have seen Bansuri’s passage from Vedic period till thirteenth century. After the
period of Sangeet Ratnakar written by Sharangdev Bansuri was once again considered
insignificant. Its big sizes disappeared and Bansuri means ‘a foot – one-and-half foot
instrument with six finger holes’ turned out to be its image. Because of its small size,
ear-splitting high sound, it became impossible for solo playing and in Hindustani
music’s lengthy concerts. In general if a graph of Bansuri’s capability is taken from
Vedic period till before twentieth century, many ups and downs can be seen. Why did
Bansuri again go downhill can be a subject for research!

On this background Pandit Pannalal Ghosh carried out the important function of
bringing Bansuri out of its dark place once again into light and granting it a
respectable status in music concerts.

In general Bansuri’s ancient long tradition from Muralidhar Shrikrishna, similarly

Buddha sutra literature, in extra evolved state up to Pannalal Ghosh and from then on
to Devendra Murdeshwar, Haripad Choudhari, Raghunath Seth, Nityanand Haldipur,
Keshav Ginde, is seen to go on advancing.

Pandit Pannalal Ghosh was one iconic figure in the field of flute playing. As
mentioned in the beginning that although in India Venu playing had a long history,
had a tradition, still his contribution in getting Bansuri playing an independent and
sovereign status is very great. Today our generation and future generation stand on his
shoulders. We are travellers on the path he has patronised; this needs to be mentioned
in gratitude and humility.

Amal Jyoti was Pt. Pannalal Ghosh’s birth name. In Barisal village in Bangladesh he
was born on 31st July 1911. Mother (Sukumari – Mujumdar Ghosh) used to call him
‘Panna’ with affection. The legacy of music was in his blood. His three generations
were into music. Grandfather – Pt. Harikumar Ghosh was Dhruvpadia (Dhrupad
singer), father – Akshaykumar Ghosh was sitarist, and among the siblings someone
was sitarist and someone percussionist/ vocalist. In such a music-worshipping
household initially Babuji began taking sitar lessons. But Fate willed otherwise. There
is one celebrated anecdote about this. Little Panna would go for a bath to River Ganga.
 38

One day a Bansuri flowing in the current came into his hands. As if a gift from
Ganga! Babuji preserved that instrument close to his heart all lifelong. He made it his
own, nurtured it, and made it flourish. Even we have received the bequest of this
tradition and movement. So much so that Pannababu’s image has merged irrevocably
with the sound of flute. As much as Muralidhar’s! We kept on getting blessed
consciously-subconsciously with love and faith.

Speaking personally about me, the pleasant joy of Bansuri has pervaded my life. I had
fallen in love with Bansuri. In that knowing-unknowing age I heard Pt. Pannababu for
the first time on radio and the entire milieu of life was transformed. The first ‘sound-
experience’ of his playing in 1952, the abiding mesmerising moment is still with me.
We had gone to Belgaum. Then his all India National program of flute recital was to
be broadcast on the radio. In those days only three-four people in town had radios. My
cousin (he used to play violin) and I went to an acquaintance’s house on cycle
(double-seat). That musical sentiment for the first time made me realise the manifold
significance in playing an instrument. Of course Pannalalji and I have not had direct
association. However awareness of that flourish and technique I have received
directly-indirectly like Krishna’s bequest from my Guru Pt. Haripad Choudhary,
Devendra Murdeshwar and Pannababu’s wife, acclaimed singer Pt. Parul Ghosh
(Popular music director Anil Biswas’s sister).

The instrument Bansuri’s ability to evolve was brought to notice for the first time by
Pannalalji. He had learned quite early and made it his own the slow and steady
musical expansion like the aalap in Khayal gayan and fast playing technique like the
‘jhala’ in string instruments. While he was becoming quite well known in movie
industry/ musical arena, his inner voice would not let him be gratified. He was well
aware of the limitations of traditional six finger hole Bansuri; this awareness was
poking him.

Diagram 4.1 Page 37

After ceaseless efforts of eight to ten years, when barely eighteen years of age, he
made a Bansuri of seven holes with 1.1” diameter and 32” length. With that the limit
of Bansuri playing increased from two Octaves to three Octaves. This solid sombre
toned Bansuri began playing with sound akin to human notes. He showed with proof
 39

that notes up to Mandra Gandhar can be produced on this Bansuri. Below the Mandra
Pancham, up to Kharja Shadj he made four finger hole Murali of Half Mandra Octave.
So by employing two Bansuris it was possible to play notes from Kharja Shadj up to
Ati-Taar Madhyam (total range was 3.5 octaves). With this solemn and serene
emotive raags such as Darbari, Malhar, Malkans could be expressed powerfully in full
Mandra Octave. With half, one-fourth notes, he successfully played the musical
ornaments such as Meend, Gamak, Khatka, Murki, etc. Not just this but he attained
fame as a music director and composer. His music-compositions in films like Anjaan,
Munna, Basant, Beesavisadi and orchestra compositions like ‘Aasha’, ‘Bageshri’,
‘Rituraaj’, ‘Kaling Vijay’, ‘Bhairavi’, ‘Jyotirmay Amitabh’ etc. had become highly
popular. Amongst his disciples Haripad Choudhary, Devendra Murdeshwar, B. D.
Desai, V. G. Karnad, Raghunath Seth et al famous flutists are included.

If Bansuri playing is considered, Pannababu was a self-Guru. However his lifestyle

had influence of many great Gurus. He was a fan of the poetry of Gurudev Tagore and
Kazi Nasrul Islam. He was a devotee of Rabindra Sangeet. He had musical education
and vision from Drupad right up to Thumri style from great musician Pt.
Girijashankar Chakravarti. He had studied nuances of music from Amritsar’s Ustad
Khushi Mahammd Khan. While working in Kolkata’s New Theatre in various
orchestras he received guidance from Shri Ramchandra Boral. Later he chose
Mumbai as his place of work and he was actively working for 20 years in Mumbai.
Later in 1956 he was appointed on Aakashwani Delhi and he was there till the end
means 20th April 1960.

Comparison between traditional Bansuri and Pannalal Ghosh made

seven holes and four holes Bansuris’ playing capabilities

Table 4.1

Ser Traditional Bansuri Pt Pannababu’s Bansuri and Murali

No

1 Period Ancient, Vedic time or First half of the twentieth century means
even before that (about generally around the years 1928-1930
10,000 years back)
 40

2 Finger holes Six Bansuri: Seven, Murali: Four

3 Length X 12” to 16” and of various Bansuri – 32” X 1.1”

Diameter diameters
Murali – 44” X 1.25”

4 Octaves Two or at the most two- Bansuri – three, Murali – half. Total in
and-quarter combined playing three and a half

5 Note Kharja – Pa Dha Ni Bansuri – Kharja – Ga Ma Pa Dha Ni

Madhya Octave - Madhya and Taar – Sa to Ni and Sa’ to Ni’
Sa, Re, Ga, Ma, Pa, Dha, Ati-Taar- Sa’’ Re’’ Ga’’ Ma’’
Ni
Murali – Kharja – Pa Ma Ga Re Sa
Taar – Sa’, Re’, Ga’, Ma’,
Pa’/ (Dha’ Ni’ Sa’) in
some cases

6 Note No continuity i.e. meend The seventh hole is for MaPa continuity
continuity and ghaseet between Ma and Kharja Ma Ga expression as well as for
and Pa expressing Ati-Taar Octave

7 Aesthetics Limited as limited number The beauty of raag blossoms as ‘MaPa’

of raag or of notes and the joint of continuation and for notes expression due
Beauty in MaPa notes is fragmented. to the seventh finger hole two notes in
Expression Cannot play below Kharja and four to eight notes in Taar up to
Pancham in Kharja Ati-Taar are additionally available.
Octave.

8 Quality of Slightly tending towards Pleasing to the ear, akin to human sound,
Notes Taar Octave, high-pitched, suitable for extended concerts
unsuitable for lengthy
concerts
 41

Maihar’s Gaanmaharshi Ustad Allauddin Khansaheb’s playing style had tremendous

influence on Pandit Pannababu. He had become a disciple of Khansaheb by tying the
‘guhnda’ (sacred thread signifying the acceptance of the disciple by the Guru).

Pt. Pannababu’s lifestyle was very simple. He was religious minded. Swami
Vivekanand’s disciple Swami Birajanand was his spiritual Guru. Pannababu used to
practice Bansuri playing till 2 AM and then do meditation and sleep only by 4 in the
morning. As a result of this kind of practice his playing reflected mainly solemn and
serene emotions.

The kind of big Bansuris Pannababu used for playing, such big Bansuris were not
familiar to the audience. There was a rumour that to enable him to play those big
sized Bansuris he had surgically cut the ligaments between fingers to increase the
length of his fingers. There was no truth in that. Untiring practice and mainly his style
of keeping his fingertips on the finger holes were the reasons why he could play such
big Bansuris quite easily. Pt. Pannababu was a great wrestler too. During one
wrestling bout he sustained injuries to his hand and it required stitches. Maybe that
was why there was this misunderstanding that he had done surgery to increase length
of his fingers.

In 1935 during All Bengal Conference in Kolkata he had accompanied Sangeet

Martand Omkarnath Thakur on Bansuri. Onkarnathji stopped while singing. He
listened to Pannalalji’s flute with great absorption and spontaneously exclaimed,
“Well done! Son, you have made a mute Bansuri communicate. Your flute is actually
singing. My words are inadequate to describe your Bansuri. Bless you!”

In 1938 there was a conference in honour of Been-player Ustad Dabir Khan, in

Kolkata of string instruments. Actually Bansuri does not figure amongst string
instruments. However during Vedic times it was also termed as ‘Mukhveena’ or
‘Mouthveena’. In this conference Babuji for one hour played aalap, jod, jhala and gat
in Raag Todi in the manner of string instrument and mesmerised Dabir Khan himself
and the entire audience. He showed that Bansuri can be played not just in vocalist
manner but also in string instrument style and developed the ‘vocal-string’ direction
and science of Bansuri playing.
 42

Pannababu lived for barely 49 years. But even in such a small life span he made
substantial contribution in the field of music. His newly created raags such as
Deepavali, Jayant, Pushpchandrika, Chandramoli, Nupurdhwani and his orchestra
compositions are popular and celebrated. Audio records of his Yaman, Shree, Marva,
Darbari, Todi, Puriyakalyan, Miyamalhar, Kedar, Basant, etc. raags and light classical
Thumri, Kajri, Bhatiyali bhajan, and cine music are quite acclaimed. In short, he
managed to evolve the limited capability Bansuri in the direction of boundless
expression. This instrument that was considered for accompaniment, folk music
became an instrument enriching classical concerts. His accomplishments would
always be exemplary inspiration to any flutist, music worshipper. Such an all-round
multi-faceted flutist, researcher, similarly a creative composer/ musician, an era-icon
has my thousand salutes!
 43

Chapter  5  

Quest – Vanshi evolution

Pandit Pannababu completely transformed the small format of Bansuri. He increased
its length, increased the diameter, and added one more – seventh – little finger hole.
As the length and diameter increased its shrillness reduced and the sound became
more like human voice. The seventh playing hole increased its note capability from
two Octaves to three Octaves, and even Madhyam-Pancham meend could be played.
Shree, Darbari, Malkans, Bageshri, Miyamalhar, Puria, Marva, Kedar, Yaman, Puriya
Kalyan raags that could not be properly expressed on Bansuri earlier, now began to
flourish on the newly designed Bansuri. That is because the nature of these raags is
solemn, slow, serene and dominated by Mandra Octave especially Kharja Madhyam
and Kharja Gandhar. With meend-rich notes like ‘MaPa PaMa’ and ‘MaDha DhaMa’
the continuity of the notes Octave is enhanced and the beauty of the raags blossoms!
Pt. Pannababu’s seventh hole ensured that most of the aesthetic phrases of these raags
could be played on the Bansuri. Pannababu brought this Bansuri on the stage of solo
performance. Audience used to listen to his Bansuri playing mesmerised for hours
together glued to their seats. Bansuri attained new prosperity.

With the seven finger holes Bansuri could be played even up to Kharja Madhyam
Gandhar, however among the raags mentioned above Miyamalhar, Darbari Kanada,
Malkans raags absolutely require producing Kharja-Shadj. So after deep thought Pt.
Pannababu made a four finger hole Murali of Mandra half-Octave that could play –
‘Pa Ma Ga Re Sa’ notes. From the confluence of combined playing he could express
from Kharja Shadj to Ati-Taar Madhyam means totally three and half Octaves. And
he used to achieve the conjoint of Kharja Madhyam-Pancham notes so seamlessly that
an impression was created that the playing was going on just one Bansuri.

Many flutists have an erroneous concept about the seventh finger hole made by Pt.
Pannababu on the Bansuri. There are some flutists that claim with confidence that
fingers cannot reach up to the seventh finger hole. However if the hold on the Bansuri,
the place of holes, and the manner of keeping fingertips on the holes are like
Pannababu’s method, then even a flutist of average height (5’2” to 5’4”) and even
 44

with average length of fingers can easily make use of the seventh hole and achieve
proficiency in the fashion of Pannababu. All this is about the probability of using the
Bansuri of the same size used by Pt. Pannababu – White 3-note E-flat.

Now let me narrate my own experience. My height is average that is 5’5”, and I play
Safed 3 Bansuri quite easily. And, even longer Bansuri than this that is Kali-1 (C-
Sharp), the length of which is four inches more than Safed-3. That too using the
seventh hole I can play complicated raags such as Gaud Sarang, Kamod, Gaud Malhar
in both styles – gayaki and tant style – with complete expression. My point is that
aspiring flutists should take such inspiration from this that they should gain guidance
from the right Guru in Pannababu tradition and do proper practice unceasingly, and
they will be able to use the seventh finger hole easily and naturally. This will enable
them to produce more notes and enrich their playing with such extra note-clusters as
well as give more happiness to self and the audience.

(Photos on page 41)

(Photo on left) (Photo on right)

Pt. Pannababu’s hold with fingertips on Bansuri held like Shehnai between two
Bansuri. (Photo is Pannababu’s) The thumbs and fingers so the seventh hole is
seventh finger hole is within little finger’s beyond little finger’s range
range

Explanation about the position in the photos:

If you look at the photos carefully it can be seen that Pannababu’s right hand is below
and the left hand is above. Fingertips are kept on the holes. The fingertips of the right
hand are kept in such a way that the maximum natural distance between the little
finger and the ring finger is exploited and thereby the seventh finger hole comes
within the range for opening and closing. Similarly the position of the right and left
hand holds is such that the Bansuri is held quite easily between two thumbs and chin
support and tensionless fingers are free to play. Practicing for hours together in this
position ensures that there is no tension on the fingers or tiredness. (Here chin cannot
be seen.)
 45

Pt. Pannababu used the seventh finger hole quite effortlessly. That was why there was
this rumour that he had got his fingers lengthened with surgery. However
Pannababu’s disciples Haripad Choudhary, Devendra Murdeshwar, V. G. Karnad, B.
D. Desai and their many students such as Lalita Rao, Harishchandra Kokare, Keshav
Ginde, Nityanand Haldipur, et al and the next two generation of students – there are
many girls too – are using the seventh hole quite easily. That is because they have
embraced Pt. Pannalal Ghosh method.

The other method of holding the Bansuri is like holding shehnai that is keeping the
second, third or even the first finger-pads on the holes. So the little finger cannot
reach the seventh hole. In Pt. Pannalal Ghosh method fingertips are used to open and
close the finger holes. As a result entire length of fingers is utilised and finger
movement becomes very swift. Also the sense of closure of holes in the fingertips is
much more than the middle pads, hence accuracy of partial opening and closing of
finger holes is maintained. As such the expression of Ati-Komal, Komal, and higher
Komal notes can be impeccably articulated. However some flutists use second or third
finger-pads instead of fingertips. They will possibly feel the lack of this benefit.

The seventh finger hole of the Bansuri has to be opened and closed with the little
finger. A right-handed flautist needs to use the right little finger and a left-handed
flautist needs to use the left little finger. By using the little finger for the seventh hole,
continuity of MaPa meend and ghaseet is achieved increasing the sweetness of the
sound. There are many other advantages. One is that notes of teevr and shuddha Ma in
Kharja, and impression of Gandhar as well as some notes in Ati-Taar Octave can be
produced due to the use of the seventh hole. The confluence of these extra Notes and
other Notes in raag Octave give Note-clusters and enhance the beauty of the raag and
as the definition of raag is ‘Ranjayati iti raagah’ – one that entertains is raag, – the
entertainment and aesthetic quotient too is increased. In addition the nuances of
complementary and consonant notes of vocal, tantkari (Been) and Bansuri
instrument’s own specialities can be sounded by maintaining the finger position
steady and blowing with half, twice, three times, four times and so on pressure. The
range of the instrument increases from two to three Octaves. Playing khayal, dhrupad,
jod-jhala, tappa, thumri, kajri, folk-tunes, bhajan, bhavgeet, natyageet, cine-tunes as
well as fusion and jugalbandi with vocalists and instrumentalists becomes possible to
 46

the fullest extent by using the seventh hole. That is why flautists should use the
Bansuri developed by Pt. Pannababu and adapt his manner of holding the Bansuri and
enrich their Bansuri playing and make it more entertaining. I am passing on this
affectionate message from Pannababu!

Use of ‘key’ to open and close the seventh finger hole:

Flautists whose manner of holding the Bansuri and the grasp of fingers on Bansuri is
not of Pt. Pannalal style might find it difficult to use the seventh finger hole. That is
because such flutists’ little fingers cannot reach the seventh hole. However even such
flutists can and do use the seventh hole. For this the seventh hole can be opened and
closed by using a lever. Many flutists have designed such Bansuris with levers. The
first such experiment was done by Raghunath Seth. His Bansuri has eight finger holes
and the Bansuri is two to two-and-half inches longer than the seven finger hole
Bansuri. By using lever he operates the seventh (for teevr Ma) hole and the eighth (for
shuddha Ma) hole with his little finger. Similarly many of his disciples such as
Sunilkant Gupta, Datta Chougule and Krishna Bhandari (all Akashwani artistes) have
embraced this method and use seventh and eighth hole.

In a Bansuri (of safed-3 Note) from the sixth hole the seventh hole is at a distance of
generally 65 to 75 mm (2.5 to 3”) and the eighth hole at a distance of 105 to 110 mm
(4 to 4.25”). However with the use of ‘key’ it can move within range of 0 to 15 mm.
Of course the position of the key has to be determined in such a way that it does not
hinder the opening and closing of the sixth hole by the ring finger and also does not
obstruct the use of the little finger. I have made a lever to overcome this problem.
With the help of this lever the seventh hole can be controlled by the left/right little
finger. Such a lever is made now by Pune’s Mr Nagraj and Delhi’s Mr Thakur and
also by my student Azaruddin Shaikh, Niranjan Bhalerao, Deepak Bhanose, Prakash
Behera and so many (See chapter 19). Similarly by using clarinet ‘key’ an effortless
way of opening and closing seventh – eighth holes has been devised by Delhi’s
famous flutist Pt. Prakash Saxena and his disciples; and they are successfully using it.

There is yet another way available. The opening closing of the seventh or the eighth
hole of the Bansuri can be done while playing by touching the Bansuri to the thigh or
the knee. However for that while making the Bansuri the position of the holes on the
 47

Bansuri needs to be fixed by taking into consideration your body structure, sitting
posture, length of the Bansuri etc. factors, then initially making a small hole that
should be made bigger by tuning. That is because finally it is essential that the
Bansuri has to be tuneful.

In this way on seven-hole Bansuri effective manifestation up to Kharja Madhyam

became possible. However amongst the raags mentioned above Miya Malhar, Darbari
Kanada, Malkans etc. raags needs expression of Kharja Shadj. Otherwise the flutist
and the connoisseurs feel a niggling sense of inadequacy. Pt. Pannababu too was
discontented due to this. That was why after deep thought he made four-hole half
Mandra Octave Murali, on which ‘Pa, Ma, Ga, Re, Sa’ base notes in half Mandra
Octave were obtainable. However to attain the joint of Kharja ‘Sa, Ni, Dha, Pa, Ma’
on the main Bansuri to the Murali only Kharja ‘PaMa’ joint is available. Plus in those
raags where Pa or Ma notes are absent, then respectively only Ma or Pa is the only
joint obtainable. (e.g. Malkans, Bhupali) So with such restriction Kharja cannot be
freely manifested. That was why after Pt. Pannababu, six finger holes Murali
(Murchhana Bansuri) was developed and its use in playing commenced. I have also
made such a six finger holes Kharja Murali. On this Murali complete Kharja Octave
and complete Madhya Octave; total two Octaves can be played. With the combined
playing of main Bansuri and six-hole Murali one-and-half Octave joint became
available and thereby Kharja notes manifestation was enhanced.

(Diagram on page 43)

3. Murali – 6 finger hole Murchhana Bansuri

Characteristics:

1. When all the finger holes are closed safed-3 Mandra Shadj is manifested.

2. Range of playing – two Octaves or even more.

3. Along with main safed-3 Bansuri in conjoint playing one-and-half Octave

joint is available, hence there is more continuity in two Bansuri playing.

4. The flutist’s thought process is not interrupted. (As compared to four finger
hole half Mandra Saptak Murali)
 48

In six-hole Murali while fixing the place for the holes, its length and inner diameter
have to be carefully considered. If the main Bansuri diameter is 1” then if Murali’s
inner diameter is kept 1.4”, then the places of finger holes required for playing come
close to the embouchure and thus within the range of hold of fingers. As this came to
my notice I have kept Murali’s diameter 1.4”. Also these six holes are not lined up
straight on the Bansuri circumference. Finger holes for Kharja Ma and Kharja Sa have
been made on the Bansuri circumference with attention to the natural position of the
ring finger.

When playing the additional Bansuri (Murali) with the main Bansuri, this six-hole
Bansuri becomes Murchhana Bansuri. When all the holes are closed in the main
Bansuri Pancham is manifested, while in Murali in that state Shadj is manifested. The
flutist has to keep full cognizance during Murchhana style playing. Otherwise absent
notes in a raag may be manifested and spoil the playing and grammar of the raag.

Some flutists instead of Pancham- Shadj have made a change to Madhyam-Shadj to

make the Murali. In such a Murali the playing holes shift even more towards the
embouchure thus bringing them more within the range of fingers, thereby increasing
the ease of playing the Murali.
 49

Chapter  6  

Keshav Venu: Enquiry-Quest-Wisdom

We have studied many forms of Bansuri till now. Three finger hole Bansuri from pre-
Vedic period that played one complete Octave and a few more notes, six finger hole
traditional Bansuri that played two Octaves, Pt. Pannababu invented, seven finger
hole almost human voice Bansuri with a range of three Octaves playing strong solemn
tones, and along with it four finger hole Murali, and further with the confluence of
Bansuri-Murali, vocal singing like note mobility; we have seen the journey of Bansuri
up till here!

Later, we also saw the impediments faced with the use of the seventh finger hole
while playing, the triumph over this with tremendous efforts, development of six
finger hole Murali to overcome the inadequacies of four-hole Murali and its design
made to facilitate easy handling during playing. Many flutists in Pt. Pannababu
tradition were encouraged to use the seventh finger hole. All these flutists surpassed
some shortfalls in the six-note Bansuri and promoted and taught Pannababu
developed seven finger hole Bansuri. Not just this but Pt. Raghunath Seth made
eighth finger hole for manifestation of tuneful strong Shuddha Madhyam. Though this
finger hole is at a distance of 4.5” (110 cm) from the sixth finger hole, with the help
of ‘key’ it was included in the playing. Naturally the Bansuri playing on a Bansuri
with seventh and eighth finger hole is rich in musical ornaments and absolutely a
delight to play and to hear!

In addition to this many flutists also use an eight to ten inches long Pavri that plays
Taar and Ati-Taar notes for folk-tunes. This way for a prolonged Bansuri concert
flutists have to employ three Bansuris for playing. Some flutists play in Murchhana
style and use many Bansuris during playing. When all this is studied it becomes clear
that for fulfilling and effortless playing, use of three or more Bansuris is not very
comfortable. The reasons are thus:
 50

1. After changing the Bansuri, the time required to begin blowing and integrating
the tune becomes an interruption in the thought process of the flutist. That is
why it is difficult to have continuity in playing.

2. The diameters of Pavri, Bansuri and Murali get bigger successively, so the
amplitudes of identical notes are different. Thus there is a difference even in
the tonal quality of the same note. Some flutists try to maintain continuity, but
it is not possible to make it sound absolutely seamless.

3. In Murchhana style Bansuri the state of opening and closing the finger hole is
quite unlike from the state of main Bansuri. For example, on the main Bansuri
when three finger holes near the embouchure are closed, Shadj is sounded. (In
Hindustani music) to play a Shadj exactly matching the main Bansuri’s Shadj;
this condition on Murchhana Bansuri is possible with half closing the first
finger hole (Shuddha Madhyam – Shadj), or successively completely closing
the first (Shuddha Gandhar – Shadj), completely closing the first two
(Shuddha Rishabh – Shadj), closing the first four (Shuddha Nishad – Shadj),
closing the first five (Shuddha Dhaivat – Shadj), closing the first six (Pancham
– Shadj) and by closing all the seven finger holes (Shuddha Madhyam – Shadj
in place of Teevr Madhyam). From this it is evident that Murchhana Bansuri’s
Octave has to be exactly tuned to that particular Murchhana’s original Shadj.
Similarly while playing Murchhana Bansuri the finger movements have to be
carefully monitored, otherwise one odd note can go haywire. Murchhana,
Murchhana principle and Murchhana Bansuris are explained with illustrations
in chapters 10, 11 and 17. Request to readers is that they should read and
understand. So in a prolonged concert, playing of such Bansuris may not
necessarily attune with the main Bansuri. In fact the possibility of Murchhana
Bansuri’s Shuddha Komal Notes exactly matching the main Bansuri’s
Shuddha Komal Shrutis. Under such conditions it will not be surprising if
connoisseur listeners sense the inadequacy. However such Bansuris are useful
in light classical genres such as folktunes, thumri, kajri, to momentarily add
colour. That is because in these kinds of music if some Note moves from its
place while playing or even if some excluded Note gets played by error, it is
excusable; in fact it becomes beneficial for variety and novelty. In fact
Bansuris of murchhana principle are quite effective for cine music, because
 51

Komal Notes from difficult raags can be produced with more impact and
clarity. Of course here this playing is limited to mood creation, emotional
effect and incidental suitability. The aim here is not extended playing at all.

4. By changing Bansuris it is not possible to have continuity of taans in three or

three-and-half Octaves and in general the whole playing does not remain
seamless and the music feels like it is proceeding with occasional patches. If
the flutist has begun fast tempo and is manifesting notes in AtiTaar Octave on
the small Bansuri, it is impossible for him to come in an instant into Madhya
or Kharja Octave. (This is possible only on Keshav Venu.) Thereby depriving
self and the audience of wondrous musical bliss. The crux is that expression
like a virtuoso vocalist singing in three Octaves is possible only on one single
Bansuri playing in three to three-and-half Octaves, not otherwise!

In 1971, when I was chosen as Akashwani artiste I too used to play by using three
Bansuris. However I was always aware of the shortfalls described above, and the stab
of inadequacy was constant. So I used to voice my problems to my Guru (late Pt.
Haripad Choudhary, late Pt. Devendra Murdeshwar), Ma-ji (Pt. Pannalal Ghosh’s
wife late Parul Ghosh) and many of Pannababu’s senior disciples. Not just this but I
even tried to find out if Pannababu, realising the paucity in celebrated flutists’ Bansuri
playing, had carried out some experiments and established some solutions. What I
understood from the discussions is that even Pannababu used to be troubled by these
shortfalls. However a life of only forty-nine years cut short the journey of his research.

Then I made an exhaustive study of Bansuris from pre-Vedic, Vedic times, periods of
Shrikrishna, Bharat, Sangeet Ratnakar, to pre-Pannababu and Pannababu, which
means Bansuris from 10,000 BC right up to 1980. I made a few Bansuris and tested
their capabilities and utility.

Conclusions from this thorough study are as follows:

§ Pre-vedic, Vedic, Bharat-Sangeet Ratnakar and pre-Pannababu Bansuris were

limited to accompaniment or in orchestras or folk tunes.

§ They were available in Anu-Mandra to Ati-Taar Octaves.

 52

§ However not one Bansuri had range of over two Octaves. The exception might
have been Lord Shrikrishna’s Bansuri. (!)

§ If their combined capability was considered, it was up to five to five-and-half

Octaves. Here human voice note is considered as standard for Madhya and
Kharja Octave.

§ Along with the embouchure there were four up to nine holes, out of which the
last two were not for playing but for establishing notes or for tuning the first
note.

§ These Bansuris were available in various sizes from eight to fifty inches (20
cm to 125 cm) length and inner diameters from 3/8” to 7/8” (10 mm to 22
mm).

§ Bansuris used to be made from a variety of materials. For example mud,

horns, wood, hollow long straight bones (especially leg bones), ivory, as well
as copper, brass, gold, silver, platinum metals, and bamboo, PVC pipes,
ebonite.

Of course despite the fact that so many sizes and types of Bansuris were available
why was its status limited to accompaniment or to play folktunes; was a question that
faced me. The possible reasons could be:

§ Probably there was a misconception that instrumental music was only for
accompaniment and not for solo playing. That’s why Bansuri stayed in the
role of group dancing (pre-Vedic), Saam Gayan accompaniment (Vedic
period), dance-drama folktunes, folk music, and orchestra accompaniment
(Bharat Natyashastra times and later). The exception was Krishna’s times.

§ Small Bansuri’s original note is Taar/ AtiTaar, so it’s playing was possibly not
pleasant to the ear. That was why its usage was limited to playing in the wild.
Madhya note Bansuri was sweet sounding, but was used only for vocal
accompaniment. It was probably not considered for solo playing. (Exception is
Krishna’s Bansuri.)

§ Big Bansuris, means those mentioned in Sangeet Ratnakar as Murali,

Kalanidhi, Shrutinidhi, were also available. However their big sizes (length
40” to 50”, inner diameter ¾” to 7/8”) spawned negative criticism like: “Who
 53

is such a elongated-armed person who can play such Bansuris?” “Whose

fingers can reach up to all the holes on these Bansuris?” “Their sound is Ati
Mandra.” Was this the reason for renouncing them? (Of course there were no
sound amplifiers, so maybe the low sound did not appeal to the listeners.)
However as these Bansuris existed, so they must have had some use in
playing.

§ At that time the concept of using a Kharja Bansuri along with the main
Bansuri was not thought of.

This revolutionary concept was first promoted by Pt. Pannababu. That was why solo
playing of Bansuri came into vogue. It was proved that with such Bansuris complete
raag expression is possible. Pt. Pannababu used these murchhana Bansuris aptly in
background music for cinemas. Along with getting the Bansuri an honoured place on
the classical music stage for solo playing, he also created charming expressions of
Bansuri in cine music that is so loved by the public; thereby he established an assured
position for Bansuri in both the fields. Not just this but he also perpetuated it through
his disciples.

Prior to Pt. Pannababu Bansuri had remained quite neglected. Its prime position
during Bharat-Sangeet Ratnakar times was lost and it somehow survived in the music
world as a second rung instrument. We have seen Pt. Pannababu’s invaluable
contribution in once again reviving it.

Against this background what stands out is the Vanshi during Krishna’s time and his
solo flute playing. How must that Vanshi have been? What kind of notes emitted from
it? Cows-animals, tigers-lions, deer-rabbits would forget their inborn enmity and
listen to the Bansuri totally engrossed and cowherds-milkmaids would experience
meditative state. Surely that Bansuri could not have been tiny, sounding very high
notes!

We have seen that Pt. Pannababu used to manifest raags with the help of two flutes.
His main Bansuri was with seven finger holes and 32” (81 cm) long and used to
sound in three Octaves. The companion Murali was with four finger holes and used to
sound in half Mandra Octave. His flute playing with these two flutes was adored by
audience like some celebrated vocalist’s singing.
 54

Thinking along this background, the traditional meaning six finger holes Bansuri if
used as main Bansuri by flutists, they would need to employ three Bansuris to play at
that range. Despite this it cannot gain semblance of vocal singing.

In comparison Lord Shrikrishna’s Bansuri used to sound at four levels is a conclusion

we have drawn from the description of his flute playing. These four levels are:

1. Sound on Pavri in Ati-Taar Saptak (high twitter Octave) –

‘Chitanyamayistar’ or animated level.

2. Sound on Bansuri in Taar, Madhya and Kharja Saptak (twitter, medium

and base note Octaves) – ‘Madhurmayistar’ or sweetened level.

3. Sound on Murali in Ati-Kharja Saptak (low base note Octave) –

‘Anandmayistar’ or joyous level.

4. Going beyond these, giving experience of inner or inaudible sound –giving

pleasure of meditation-like state in Anu-Mandra or Laraj Octave –
‘Paramanandmayi-star’ or enlightenment level.

How exciting would it be if all these levels could be played on one single Venu! With
thoughts of a Bansuri playing in three-and-half Octaves, developing raags variously to
enrich the experience of playing, my mind began to seek such a Venu. To determine
the length of such a Venu, diameter and number of finger holes, their specific places
on the Bansuri, thinking and research went on. References of books such as Maharshi
Wyas’s Bhagwat, Bharat Natya-shastra, ‘Sangeet Ratnakar’, and saint literature were
sought. The descriptions in them were not sufficient to answer my quest. However
study of descriptions about Murali fixed the length of Murali at 52.5 anguls, one yav
meaning 42” to 44”. Then mention was found that Murali had four playing finger
holes. Once again the mind was caught in a muddle, as with only four holes it was
impossible to play three-and-half Octaves. With four holes only one Octave and a few
notes can be played. Similarly it came to my notice while reading that Murali’s
diameter was one angul means three quarters of an inch and length was 42-44 inches
or even more. Today it is impossible to acquire such a slender bamboo, and if at all
found, it is almost impossible to play Kharja on such a small diameter bamboo, leave
alone Ati-Kharja! I had understood this after experimenting and through practical use.
Of course on such a small diameter long Murali the finger holes would be at long
 55

distances and that is why these go beyond the reach of the flutist. This description in
Sangeet Ratnakar was technically right. One more point was acceptable and that was
on a Murali with such design even an exceptionally tall man with very long hands will
find the finger holes beyond his reach. Even the writer himself has raised a query in
one shlok, ‘which Ajanubahu (long-handed man) would be able to play such a
Bansuri?’

All these references were studied in details. Prepared many designs and actually made
Bansuris and after experimenting drew conclusions. These are:

Chart No 6.1

Serial No Dimensions Conclusions

1 Small diameter – 3/4” inch (19 1. Not useful to play human

mm) and length 42” (107 mm) sound Kharja.

to 44” (112 cm) or more 2. Also impossible to play Ati-

Kharja.
3. It is impossible to get such a
bamboo.

2 If such a bamboo were to be 1. Distance between two finger

found holes would be beyond the

finger range of an average
height flutist (5’4” to 5’10”)
2. The total distance between
finger holes would go beyond
the range of hands.

3 Big diameter – 1 ¼” (3.2 cm) to 1. Useful for human sound

1 ½” (3.8 cm) and length 42” Kharja – Ati-Kharja but not

(107 cm) to 44” (112 cm) or feasible for Taar and Ati-Taar

more notes of Saptak, so notes more

that two Octaves prove inept
for playing
 56

2. In such a Bansuri the distance

between the finger holes
reduce and they come within
the range of fingers. But
blowing needs extra strength.

3. That is why not practical for

long concerts and for playing
in Madhya Octave

By studying all these pros and cons, I reached a golden mean and determined the
dimensions of Venu. These are thus:

1. Inner diameter 1” or 25± 1 mm

2. Length 42” or 107 cm (107± 0.5 cm)

3. Wall thickness 1.5 mm to 2 mm

Such a bamboo would be best and akin to human voice. I was convinced of this and
decided to search for it. Got information on where such bamboos could be found in
which forests! Mainly forests of such bamboos are in: 1) North Karnataka – area
around Dandeli and Belgaum. The earlier name of Belgaum was Velugram. 2) South
Karnataka – at Mangalore, Sirsi, Siddhapur. 3) Kerala – Travancore, Cochin, Kaldi
(birthplace of Jagadguru Adi Shakaracharrya). In Kerala such bamboos are termed as
‘Eta’. Here these bamboos are used to make long brooms to clean roofs. The long
bamboos from here have about four to five feet distance in two nodes. As these
bamboos are straight, round, and of small thickness, they prove useful for Bansuri. In
Kerala area such bamboos are favourite fodder for elephants. However if the workers
in the jungle are asked for bamboo, they carelessly hack it with some sharp weapon.
So the bamboo develops small cracks and it becomes unusable for Bansuri. So the
bamboos chosen should be personally cut delicately with hacksaw or saw and brought
back.

Similarly towards north near Assam Guwahati jungles such bamboos are found. In
Myanmar, Philippines too excellent bamboos for Bansuris are available. These
 57

bamboos are light but tough. That is why the Bansuris made from these bamboos
survive for a long time.

When I received this information, while I had gone to H.M.T factory in Cochin for
some work I visited the bamboo jungles near Kaldi. There I saw extremely long huge
big bamboos. Delighted, I brought along a big bundle of bamboos. However like told
earlier I did not pay attention while cutting them and as a result almost 90% bamboos
were found to have minute cracks. Still out of the remaining bamboos I made
Shrikrishna Murali, Kharja Bansuri, Murchhana Venu and such many Bansuris.

There is a big paper factory in Dandeli in North Karnataka. Huge bamboo plantations
are made for bamboos required for that factory. To acquire my special bamboo I made
a search in Dandeli jungle. However requisite bamboo, means of specific shape,
golden skinned, 42” without a node, sans a single crack, was difficult to come by.
Length 42” but big diameter, or length and diameter right but tapering, or cracked
bamboos were obtainable. Under such conditions I made Bansuris with available
bamboos but the sound did not appeal to my mind, and they would not go beyond two
Octaves. That gave rise to frustration and I thought of giving up whichever Bansuri I
used to play. That is because I sought Krishna Venu and my Bansuri with eight finger
holes counting embouchure, could not manifest even simple raags like Shankara,
Bhoop, Kalawati, completely; this was my grievance. I kept on feeling that by playing
such a Bansuri I was deceiving the audience and myself, and also I hurt that I was not
faithful to the art!

However thanks to the blessings of my family deity Shri Krishna, in 1984 I got one
beautiful bamboo piece exactly the type I sought. I had indicated to Mumbai’s
Ramchandra Dhotre which kind of bamboo I was looking for. Likewise he called me
and informed that he had such a bamboo. This bamboo piece was 38” (95 cm) long
and had 1” (25 mm) inner diameter. I first pierced the embouchure on it. From this
Kharja Rishabh and Komal Rishabh manifested. Then for Shuddha Kharja Gandhar
and Shuddha Kharja Madhyam respectively made ninth and eighth hole and then
tuning the Bansuri, successively made seven finger holes like the Pannalal style, and
made a Bansuri of ten holes along with the embouchure. Of course all these holes are
not in one straight line but are made on the bamboo circumference convenient to the
natural position of fingers. The ninth finger hole is suitable for the playing posture
 58

and had to be made to facilitate opening and closing by knee. This Bansuri played up
to two-and-half to two-and-three-fourths Octaves and further notes were unclear. On
it still Bhoop, Kalawati, Megh, Shankara, Shree, Kamod raags were not manifested,
as I would have liked.

My resolve was to make a Bansuri that played in three-and-half Octaves in Vocal and
Tant manner.

Later on, after much thought, near the embouchure and on the Bansuri hold I sought a
point where the left hand thumb would be placed naturally and I mathematically
calculated the point where exactly the hole should be made to make the Bansuri
tuneful and likewise I made the tenth finger hole for Madhya-Taar Octave Pancham.

Lo and behold! With this tenth hole the Bansuri began singing in three-and-half
Octaves. This hole to be used by the left thumb turned out to be multi-use and
revolutionary. With the use of this hole, the arena of AtiTaar and Taar Octave opened
up for playing. Also obtainable was one-and-half Octave up to Pancham Note Aarohi-
Avarohi ghaseet meend that was just not possible on any other Bansuri! Notes that do
not manifest on six or seven finger hole Bansuris became freely available. Notes
could pleasantly move from Kharja Komal Rishabh to AtiTaar Madhyam range on
one single Bansuri. This gave me much inner satisfaction. Once again enthusiastically
I began practicing on the new Bansuri and discovering novel expressions. While
practicing daily some new Note gems were found and I could not have enough of the
treasure!

I practiced incessantly for about two years on this eleven finger hole Bansuri. By
using left thumb and fleshy part of the thigh near the knee, I practiced opening and
closing the ninth and tenth hole and achieved mastery over it.

Around this time, means in 1989, I played on Pune Akashwani for the first time using
the total 11 hole Bansuri. I presented Raag Bhupal Todi for the afternoon and Raag
Durga for the night. The day this recording was to be broadcast, I said to my wife
Veena in the morning that definitely at least one flute lover would call that day! And
it so happened. The next day acclaimed flutist Mr Ajit Soman phoned me.
 59

Mr Soman: Your Bansuri recording that was broadcast on Pune radio was heard by
my American friend Steve Warne, and he is highly impressed. He wants to meet you.

Me: Is he a flutist? As an American did he understand what I played? What difference

could he discern?

Mr Soman: Of course! He is a flutist himself. Has in fact taken training in Benaras

for 4-5 years. He plays with our Jazz group. In your playing did you employ only one
Bansuri or use three Bansuris? It felt like the playing was on one Bansuri, but it is not
possible to get all this on a single Bansuri. He is very keen to know all this mystery.
He has come with his wife to see India. He is in Pune for just a few days. He hopes to
meet you today only.

That evening Mr Ajit Soman came to my house along with Steve Warne. They saw
my three-and-half Octave Bansuri, heard it and learnt all its nuances. After that he
came continuously for four days. He was requesting me to make such a Bansuri for
him and teach him to play. However he realised that these things cannot be done in a
hurry so he went off to tour India.

(Diagram on page 52)

Keshav-Venu’s pre completion stage – Venu with 11 holes including embouchure

(ten finger holes)

Diagram 6.1

Characteristics:

1. Eleven holes along with the embouchure

2. Length 38”, inner diameter 2”
3. Octaves – three-and-half
4. Notes – from Mandra Komal Rishabh to AtiTaar Madhyam
 60

Chapter  7  

Keshav Venu – Complete Status

All mass media for example, Akashwani Pune, Doordarshan – Mumbai and Delhi,
Central Production Centre (CPC), Delhi, newspapers (Sakal, Loksatta, Times of India,
Indian Express, Pune Herald, etc.), Diwali magazine issues, Mumbai’s music related
magazine, Nadbrahma, gave tremendous publicity to this invention. Music
aficionados’ attention was drawn to this novel Bansuri. Many flutists and music
virtuosos showed interest and were convinced on seeing the Bansuri!

However even then I felt one drawback in Keshav Venu. It could not manifest Kharja
Shadj. When in raags such as Darbari, Malkans, Chandrakans, Puriya, Malhar,
Bhoopali, Shadj is not manifested; the raag cannot be expressed in total. So for
nurturing such raags I felt necessity of Kharja Shadj and I felt that my research was
incomplete. To add to my discomfiture, All India Music Conference, Doordarshan
National, CPC, Delhi invited me for interview and such programmes. So I really
became obsessed on Keshav Venu’s completed stage.

For that chiefly I first acquired a bamboo with 42” (107 cm) length, one-inch (25 mm)
inner diameter and with qualities as described before. On it I made eleventh finger
hole (twelfth including the embouchure). Made a special lever (key) to open and close
this 11th finger hole. To make an appropriate lever design and to be able to use it
effortlessly, I took many tests, often made changes and finalised one design. It was an
relentless struggle for two-three months.

Inclining the Bansuri towards the floor, with the help of the lever if the eleventh
finger hole is closed the Kharja Shadj is manifested and if the embouchure is turned
inwards towards the mouth, Anu-Mandra Nishad (low base note Ni) is manifested.

If Bansuri is lifted away from the floor, the lever opens automatically and the eleventh
finger hole automatically opens due to spring action and Kharja Rishabh is produced.
In this way on Keshav Venu notes even more than three-and-half Octave (from Anu-
Mandra Nishad to Ati-Taar Madhyam) could be produced that means notes in 3.7
Octaves could be produced. (Diagram 7.1)
 61

Anu-Mandra Venu (Murchhana Bansuri)

A lot of time was spent on determining the eleventh finger hole on Keshav Venu,
designing lever for its use, and mastering the process of opening and closing the
eleventh hole with the help of the lever.

(Illustration on page 54)

Design 7.1

Characteristics:

1. Along with the embouchure, twelve holes

2. Length 42” (107 cm), inner diameter 1” (2.5 cm)
3. Range over 3.75 Octaves
4. From Anu-Mandra Nishad to Ati-Taar Madhyam

In the meanwhile I made one Anu-Mandra Bansuri (Murchhana style) with total nine
holes including the embouchure. This Bansuri is 48” long and has 1.25” inner
diameter. On it four notes below Mandra Shadj could be played: in addition the
playing capability was two-and-quarter Octaves so the continuity with Keshav Venu
is easily achieved in combined playing and total playing can be in four Octaves that is
from Anu-Mandra Komal Dhaivat to Ati-Taar Madhyam. On this Bansuri using notes
in excess of full Octave meend-ghaseet, khatka, murki, taan process; all these vocal
singing-like manifestations, also beenkari (tantkari style) can be effectively played
and the audience experiences wondrous joy! (Diagram 7.2)

With reference to Keshav Venu’s playing in completed stage, I feel like narrating one
unforgettable incident in my life. In the national programme for Akashwani Music
Conference in 1992, I played Keshav Venu in Mavlankar Hall, Delhi. I played Raags
Kedar, Megh and Piloo thumri. This complete playing was in three-and-half Octaves.
I played many difficult passages that until now were never manifested on Bansuri but
which are specialities of Keshav Venu, such as arohi-avarohi meend, ghaseet from
Kharja Rishabh till Kharja Pancham-Madhya Pancham, continuous taan in three-and-
 62

half Octaves from Kharja Rishabh to Ati-Taar Madhyam, also khatka in thumri,
murki etc. delicate expressions.

After the concert was over a gentleman sitting in the first row, Delhi’s senior,
celebrated flutist/ shehnai player Pt. Raghunath Prasanna (age, 92 years) came on to
the stage. He said, “Son, I am extremely pleased with your flute playing. Whatever
you have played on just one Bansuri and expressed from Kharja to Taar Ati-Taar
Octave; I have never heard ever before. How can Kharja Rishabh manifest in
Bansuri? I have to see this. Do show me your Bansuri!”

Just then Pune’s revered Pt. Bhimsen Joshi along with accompanying artists was
approaching the stage for his national programme. Hence I took Pt. Raghunathji
Prasanna to the green room. He saw my Bansuri, and asked me to play Megh Raag
once again. Also asked me to play a continuous taan from Kharja Rishabh to Ati-Taar
Madhyam. He was quite impressed after listening and gave me his blessings, “Attain
fame, lead a long life!”

Pt. Raghunathji Prasanna means elder brother of Pt. Bholanath Prasanna (senior
flutist) of Banaras and father of celebrated flute Guru and famous flutist Pt. Rajendra
Prasanna (Delhi).

(Diagram on page 55)

Anu-Mandra Venu – Shrikrishna Murali

Design 7.2

Characteristics:

1. Holes: Nine holes including embouchure

2. Octaves: More than two-and-quarter
3. Length: 48” (122 cm) and inner diameter: 1 ¼” (32 mm)
4. Notes: Anu-Mandra Komal Dhaivat to Taar Shadj
(More than this also can be played, however not required due to Murchhana
Bansuri)
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(Diagrams from page 56 to page 63)

To illustrate how the limits to Bansuri playing vanished with increased playing
capability of Keshav Venu, a comparative chart is given below. With just one look
readers can get a clear idea of the discussions in chapters ‘Keshav Venu – Enquiry-
Quest-Wisdom’ and “Keshav Venu – Complete Stage’.

Ser No Quality Traditional Bansuri Keshav Venu

1 Creation Pre-Vedic era, at least new invention in twentieth

10,000 years back century

2 Length/ Diameter Various 107 cm length, 25 mm

diameter

3 No. of holes Seven Twelve

including
embouchure

4 Octave limit Maximum two to two-and- More than three-and-half

half Octaves Octaves (3.75 octaves)

5 Ghaseet-meend Less than one Octave More than one-and-half

limit Octaves

6 Raag aesthetics, Limited Octaves and notes Plenty of Octaves and

beauty expressions for expression, so notes for expression, more
repetition of note clusters. scope for beauty, novelty,
So lack of beauty, novelty, and aesthetic expression.
and aesthetic expression. Maximum 42 notes
Maximum 24 to 30 notes available for playing
available
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7 Need of second Second Kharja Bansuri Second Bansuri not

Bansuri for Kharja required. Interruption in needed. So there is
notes flutist’s thought process continuity in flutist’s
thought process

8 Tone of notes Tone of two Bansuris may Tone is sustained as only

not be identical one Bansuri.

9 Manifestation of Limited vocal-singing like Can be fully vocal-singing

vocal-singing expression like

10 Creativity Less scope for self Full scope for self

capability technique technique

Note: In one Octave Shuddha 7 and Komal 5, totally 12 notes are considered.
However in Indian music if shrutis are considered, as there are 22 shrutis in one
Octave, 24 to 30 notes means 44 to 55 shrutis, and 43 notes means 80 shrutis. That
means Keshav Venu’s range has evolved from 44 to 55 shrutis in traditional Bansuri
to 80 shrutis.