Flute playing techniques: Fingering, tilt and blow control

Ideas and innovations in Indian classical music
girish_a
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#51

Post by girish_a » 22 Nov 2009, 00:36

So that's how Shashank produces that piccolo-like sound! I'll try it out...

And here's the first part of a series on tonguing, again by Nina Perlove:

http://www.youtube.com/watch?v=9s3l_zBr ... re=channel

She's a great flute teacher :) Very glad I found her on Youtube.
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ppraghu
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Location: Trivandrum, Kerala, India

#52

Post by ppraghu » 22 Dec 2009, 02:48

Very informative videos. Thanks a lot Girish and Vasanthakokilam for sharing it.

According to my flute master (Vid. Bangalore M K Pranesh), there is a fundamental difference between "thu-thu-karam" by Carnatic and Hindustani flutists. Hindustani flutists would use their tongue to control (stop/release) air. Whereas according to his school, the Carnatic flutists should use their throat to control the stop/release of air for thuthukaram, and not the tongue. The tongue would typically be folded down to the lower side/bottom of the mouth always so that the air flow is not obstructed by the tongue coming in the way. When the tongue doesn't obstruct the airflow, the clarity of flute sound increases.

Not sure if other Carnatic flautists would agree with this, though.

Regards
Raghu
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girish_a
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#53 Re: Flute playing techniques: Fingering, tilt and blow contr

Post by girish_a » 11 Feb 2011, 15:16

Found this website, dedicated entirely to the subject of Carnatic flutes: http://www.vamshidwani.com/
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girish_a
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#54 Re: Flute playing techniques: Fingering, tilt and blow control

Post by girish_a » 04 Mar 2015, 21:43

I have been experimenting with a Bansuri which I purchased recently. I've figured out the fingering but there doesn't seem to be a way to produce the mandra notes from Shuddha Madhyama downwards.

For example, The Abhogi Varna:

R, G, G R S, | S R S S | D M D, ||

I can't reach the Ma in the phrase above. Is this a limitation of the Bansuri?

I watched this Abhogi rendition by Pandit Ronu Majumdar. He doesn't seem to touch the mandra either.
https://www.youtube.com/watch?v=iEWqNhFS-cw

One more Abhogi, much slower, easier to identify notes lower than dha, but there don't seem to be any.
https://www.youtube.com/watch?v=5yJbffC ... FED4071B5F

I will continue to experiment, but in the meanwhile, if anybody has insights, let us hear it.
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jvenumadhav
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#55 Re: Flute playing techniques: Fingering, tilt and blow control

Post by jvenumadhav » 26 Apr 2015, 00:19

Hi,

Yes, if you are using Bansuri it is not possible to produce the note lower than Dha. Even though any raga can be played from any shadja, it is recommended to play carnatic compositions with carnatic Sa, other wise we will face such difficulties. We can tilt downwards but it is challenging, as you might hit the Ma2 note. In general it is very difficult to play any such carnatic composition with the same effect to that of using Carnatic Sa. The usage of non standard carnatic is mostly used during manodharma by expert flautists. In my opinion we do not need to use hindusthani sa except for hindusthani ragas with pratimadhyama like Hamsanandi (esp. for gamaka for ma2). Just my thoughts.

Regards,
Venu
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girish_a
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#56 Re: Flute playing techniques: Fingering, tilt and blow control

Post by girish_a » 15 May 2015, 18:58

Thank you, Venu Madhav for confirming this.
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ramanathan flute
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#57 Re: Flute playing techniques: Fingering, tilt and blow control

Post by ramanathan flute » 12 Oct 2016, 21:26

can anyone post me cross fingering chart
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girish_a
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#58 Re: Flute playing techniques: Fingering, tilt and blow control

Post by girish_a » 20 Jun 2018, 22:54

Tonguing...Check out this video.

https://www.youtube.com/watch?v=QdXqU1uj2lM
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Vayoo Flute
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#59 Re: Flute playing techniques: Fingering, tilt and blow control

Post by Vayoo Flute » 22 Jun 2018, 22:49

Am relatively new here and just saw this thread.

Tonguing is certainly useful but some of the current flutists seem to overdo it. Tonguing is easier with thin flutes that tend to be more responsive. That is probably why artists such as Shashank prefer thinner flutes despite some of the drawbacks, including a lot of air hiss (some flutists seem to want this). With thicker flutes, there is more resistance that needs to be overcome in order to produce a note clearly, but manageable with a stronger blowing. There are also different types of tonguing - single, double, flutter. Also, depending on how you tongue, you get different sounds. Hitting the tongue against the teeth or lips produces a more airy hissy sequence of sounds. Hitting the tongue against the upper mouth ceiling produces a cleaner sound but the breaks between the notes will not be as pronounced.
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