Flute finger position question about N2

[vasanthakokilam]

Hope other flute players ( who play the usual carnatic 8 hole flute ) can pitch in.

I always wondered about the gaps for D2 -> N2 -> N3 do not follow the usual rule. Nominally, half open/close produces a semi-tone increase/decrease and a full open produce a full tone difference (G3 to M1 is an odd thing we will leave that out).

Going by this, D2 -> N2 being a semi tone, N2 position should be "first 3 holes fully closed with the fourth one half open". That is how I play. But then N2 -> N3 is against the grain since that transition requires two half open actions so the ending position is the first two holes fully closed and the third hole half closed.

But if we go with N2 being the three holes fully closed ( which I have seen people do like in this http://www.youtube.com/watch?v=uMMhmEyUi34 tutorial ), then it resolves the N2 -> N3 issue but the D2 -> N2 now is achieved through opening a full hole.

a) What is the right positon for N2? First three holes closed or first three holes closed + fourth hole half closed.
b) Whichever way is the right one, what is the resolution for the D2->N2 or N2->N3 issue?

One thought is that the 3rd and 4th holes are positioned differently there to accommodate that. Interestingly, the flute Sriharsha uses in the above video has the distance between 3rd and 4th hole considerably longer than the others. None of my flutes have that visible a difference.

[uday_shankar]

vk, the short answer to your question is "depends on the raga".

But first we must start with the D2 swara to explain the N2 issue .

Keep in mind that each semitone differs from the next by 100 cents. Also, note, when I use the word "gap" below, I always refer to intonational gap, not physical distances .

The D2 swara is the most unique in the just intonation scheme, which Carnatic flute makers instinctively follow if they do it right. The following facts are relevant:

1) The gap between S (two holes closed) and R2 (one hole closed) is 9/8 which comes to 203 cents, very close to two semitones. This info is just to set the context.
2) The gap between P (five holes closed) and D2 (4 holes closed) is 10/9 (P = 3/2, D2 = 5/3 therefore D2/P = 10/9) which comes to 182 cents, i.e., considerably less than two semitones. Aha!
3) The gap between N2 (three holes closed) and S (two holes closed) is 9/8, i.e., approx. 2 semitones.

Now let us examine the ratio between D2 and N2. D2 = 5/3 and N2 = 16/9, so the ratio is 48/45 or 111 cents, i.e., well enough over the desired interval of 100 cents to be noticed by discerning ears. In most flutes it is probably even greater than 111 cents because flute makers instinctively understand this slightly higher than normal interval and tend to place the 4th hole in a way that accentuates it, i.e. closer than needed to the 5th hole. In effect this depresses the D2 even more. Alternatively, they may place the N2 hole a little further away than needed, thereby narrowing the interval between N2 and S. The late Shri T Vishwa played flutes that had a smaller diameter for the 4th hole, keeping the placement the same. This increases the acoustic impedance of the opening when three holes are closed (as well as slightly increase the linear column length, which is probably the higher contributor) and therefore depresses the N2 slightly. This is probably the right way to do it, but as is usual in Carnatic music, there can be no break with "sampradaya", even if it is only 100 years old or that it improves matters !

In ragas that don't have D2, the three-holes-closed N2 can usually be used without any dilemma. Madhyamavati, Brindavana Saranga, etc, etc.. Of course in Madhyamavati, in the arohana you would try to use a gamakamfied N2 which starts from D2 and goes to S and we pretend that it is N2 .

In ragas that have very prominent D2, which also have N2, you cannot use the three-holes version (except on certain occasions). The 111 cent gap will be too noticeable. Say, Kamboji or Kharaharapriya. Here you have to use the 3 1/2 hole version (there is some leeway in the exact interval for N2 in these cases, as long as it is closely tied to D2, kind of like an anuswaram). Unless you're playing the Vishwa version, in which case you can get away with 3 holes. In my experiments making PVC flutes (I can turn out one in my garage in about 15 minutes, maybe 5 for a competition ), I have found optimal diameters for the Vishwa 4th hole that makes the N2 just right. However, I don't like the Vishwa solution on balance, because it permanently depresses the N2 for ragas that need a bolder, slightly higher N2, such as Brindavana Saranga or Hindolam or any number of Hindustani type ragas. So maybe "sampradaya" is right, timeless, er...100 year old wisdom .

There are more subtleties to this issue, which perhaps I can discuss when I visit you, perhaps in the not too distant future

[uday_shankar]

One more point regarding the "Vishwa 4th hole"...closing it half becomes almost moot, although it can be done. Although considerably smaller than the rest of the holes by Carnatic flute standards, the Vishwa 4th hole is still larger than a recorder hole; and it is not difficult, with some practice, to half close a recorder hole, except the very tiny one that forms part of a two hole arrangement in a depression.

[vasanthakokilam]

Thanks very much Uday. I think I get it. Interesting. You are right about the 3 1/2 hole N2 when D2 is there. May be even when D1 is there? For example, the Bhairavi phrase I just love is S N2 D1 P ( played in its own unique way of course as with anything bhairavi). There if I play the N2 with 3 holes closed it just does not sound right at all. But that also follows from your description as to why that is so.

While reading your description I thought of another thing. If I play with the lower P as S. this whole situation moves to G2, G3, M1. For this case, I do not feel like I have a choice. Only thing that works is: M1 with the first two holes closed, G3 with the next two holes half closed ( otherwise I can not get Mohanam right ) and G2 with two possibilities. 3 or 3 1/2 holes closed. Though there are two possibilities for G2, for that unique sivaranjani feel, the latter works best. I think that jibes with you said about N2 position when D2 is there ( here it is G2 to R2 ). Somehow, in this shifted situation, I can feel the differences better. I do not know where I can use the 3 hole closed verision of G2 reliably.

That reminded me that habitually I play N3 ( in the native kattai ) with the same manner as G3 in the shifted Sa above, that is first 2 holes fully closed and the next two holes half closed. In fast phrases I can not tell the difference but Kalyani N3 seems to require that support of the 4th hole half open otherwise it does sound just right ( my test is the starting N3 of the charanam of Adi thala varnam )

[uday_shankar]

vk
Much can be discussed both for regular and transposed fingering. Some quick thoughts:

1) Using the transposed fingering where the P (5 holes closed) becomes the tonic or Sa, three holes closed G2 can be effective in ragas like Hindolam.

2) The situation with two successive holes half closed, or with one or more holes closed after leaving a hole in between open, goes beyond the simple model of the flute and needs a case by case, almost instrument by instrument, reckoning. Carnatic flutes are by no means standardized and I play with marginally different fingering on any given flute that I come across. And that may be different another person, because blowing/embouchure style differs from person to person.

Will continue in person...