What You Should Know About Bansuri
Bansuri
Have you ever heard the soothing melodies of a bansuri? The bansuri is a special kind of flute played on its side, and it’s part of the classical concert music tradition in northern India, also known as Hindustani music.
Interestingly, it hasn’t always been a star on its own in this tradition; it used to be more of a folk instrument.
But everything changed in the 1950s, thanks to a musician named Pannalal Ghosh.
He’s the one who really brought the bansuri into the spotlight as a solo instrument for concert performances in Hindustani music.
Now, picture this: the bansuri is closely linked to an important Hindu god, Krishna.
In lots of pictures and artwork, you’ll see Krishna playing this flute.
It’s like the bansuri has a special place in the heart of both music and mythology!
In this comprehensive blog post, we will take an in-depth look at the Bansuri, an exquisite flute-like instrument.
Join us as we delve into its construction, uncover its fascinating history, and explore the intricacies of its unique playing technique.
What is Bansuri?
The bansuri is a traditional transverse bamboo flute used in India, Pakistan, Bangladesh, and Nepal.
It is an ancient musical instrument with deep ties to the pastoral tradition and cowherds. It holds a special connection to the love story of Krishna and Radha, and its presence is depicted in Buddhist paintings dating back to around 100 AD.
Additionally, the bansuri plays a significant role in Krishna’s Rasa Lila, where its tunes are poetically linked to captivating the women of Braj.
Its name, bansuri, comes from Sanskrit combining the words bans (bamboo) and swar (musical note), representing a flute made of wood.
Crafted from a single piece of bamboo, this ancient wind instrument features six or seven finger holes.
In North India, it typically has six finger holes and one blowing hole, but some artists add an extra hole, bringing the total to eight.
Measuring about 14 inches long, the North Indian bansuri has been traditionally employed as a soprano instrument.
Its primary use has been to accompany lighter compositions, including film music.
It excels in producing the highest order of music, and its resonance in the lower octave leaves a lasting charm on listeners.
The bansuri is a highly sensitive instrument capable of expressing the delicate graces, curves, embellishments, and shades of classical music.
Portable and resilient to climatic changes, the bansuri can be easily carried from place to place.
This flute carries a rich history and cultural significance, making it a cherished part of Indian musical traditions.
History of Bansuri
The Bansuri is an uncomplicated woodwind musical instrument that has its origins in ancient cultures.
In accordance with the legend, it has its roots in Egypt, Greece, and India. They said the first bansuri was born when the wind whistled through the bamboos.
During medieval times in India, Bansuri was known for its specific dimensions, mounts on ends, bindings, and playing style.
The instrument is mentioned in the renowned treatise ‘Natya Shastra’ and various Hindu texts about singing and music.
The Rig Veda refers to it as ‘nadi’ or ‘tunava,’ while post-Vedic texts refer to it as ‘venu.’ Furthermore, references to the Bansuri can be found in different Upanishads and yoga texts.
Bansuri’s historical significance can be traced back to the Rig Veda and its artistic depictions in the Ajanta and Ellora caves.
Bansuri is often intertwined with the life of Lord Krishna, who is often portrayed playing it in his divine pastimes with Radha and the gopis. This connection with Lord Krishna has made it a very popular instrument of music in India.
Originally, the instrument was associated with Indian folk music for centuries. However, it rose to prominence during the ‘Bhakti movement,’ a period of devotional fervor.
Bansuri in the 20th Century
Despite its illustrious history, the Bansuri flute was long perceived as suitable only for folk music rather than classical music.
This perception might be attributed to its small size and high-pitched sound.
However, this perception underwent a monumental transformation in the first half of the 20th century when bansuri found its place in the realm of Indian classical music performance.
It all began when Carnatic genius musicians integrated the Bansuri, known as Venu, into their concert performances.
Subsequently, it was gradually introduced to the music arena of North India through the efforts of Pandit Pannalal Ghosh.
He played a key role in enhancing the instrument’s popularity and recognition in the realm of Indian classical music.
This significant development can be attributed to his pioneering creation of the bass bansuri.
Pandit Pannalal Ghosh’s innovations and improvisations have left an indelible mark in history and remain unrivaled to this day.
The Bansuri flute used in contemporary times is crafted from bamboo.
It generally features six finger holes, with one dedicated to blowing and the rest used for finger placement.
However, Pandit Pannalal Ghosh made a significant innovation by creating a larger version of the traditional instrument with an extra hole.
Pandit Pannalal Ghosh’s innovation improved the weight and allowed for the playing of lower octaves.
The new bass bansuri possessed a baritone voice that imparted the tone and serious timbre expected of an Indian classical instrument.
This greatly influenced the instrument’s evolution and elevated the Bansuri to the status of a concert instrument, forever altering its perception.
Bansuri to the Global Music Scene
In the latter part of the 20th century, the Bansuri gained prominence as a solo instrument in the Carnatic repertoire.
This significant development was attributed to the contributions of Sarabha Shastri and his student, Palladam Sanjeeva Rao.
In the southern regions, T.R. Mahalingam played a pivotal role in restoring Bansuri’s glory.
In the northern regions, Pannalal Ghosh elevated it to a solo instrument, followed by the global popularization efforts of Pandit Hariprasad Chaurasia.
Specifically, the entry of Pandit Hariprasad Chaurasia onto the Hindustani classical music scene in the late 1960s further propelled the popularity of the Bansuri.
This solidified its position as one of the primary instruments in Indian classical music performances.
With his exceptional mastery of the instrument, profound musical knowledge, and innovative playing techniques, Pt. Chaurasia has garnered worldwide acclaim over the past five decades.
He has established the Bansuri as one of the most beloved Indian musical instruments.
Moreover, the influence of Pandit Vijay Raghav Rao and Pandit Raghunath Seth has played a pivotal role in popularizing the bansuri as an Indian instrument on a global scale.
Their contributions span a wide range of musical genres. They have not only elevated the bansuri’s status within the Indian classical music tradition but have also transcended cultural boundaries, making it a cherished instrument worldwide.
Through their collaborations, performances, and dedication to showcasing the versatility of the Bansuri, these maestros have significantly contributed to its recognition and appreciation on the global music scene.
Types of Bansuris
There are two main types of bansuri: transverse and fipple. The transverse bansuri is the most widely used type in Indian classical music.
This type of bansuri is held horizontally, with the musician blowing air into a hole located on the side of the instrument.
Transverse bansuris come in various sizes and require more control and skill to play.
They are particularly favored for classical music due to their ability to allow for more variations and embellishments.
On the other hand, the fipple bansuri is held vertically and features a whistle-like mouthpiece, similar to a tin whistle.
This design makes it easier to produce sound. When playing the fipple bansuri, the musician holds the instrument to their lips in a vertical position.
It is generally smaller in size compared to the transverse bansuri and produces a higher-pitched sound.
The fipple bansuri is commonly used in Indian folk music and is often favored by beginners who are learning to play the bansuri.
Structure and Characteristics:
The bansuri is made of bamboo, carefully crafted into a long, cylindrical shape with finger holes along its body.
The bansuri varied in size, pitch, and tuning. The size of the bansuri ranges from 30 cm to 75 cm, with longer ones having deeper tones and lower pitches.
The pitch of the bansuri is determined by the tonic note, or sa, that it produces when all the holes are closed.
The most common pitches are C, C#, D, D#, E, F, F#, G, G#, A, A#, and B.
When played, the bansuri emanates a rich and hauntingly beautiful sound. Its notes can be soft and serene or lively and energetic, evoking a range of emotions within the listener.
The bansuri is known for its ability to produce intricate melodies and delicate ornamentation, creating a mesmerizing musical experience.
Bansuri Construction: How to Make Bansuri
Bamboo, the chosen material for crafting the bansuri, plays a crucial role in its unique appeal.
To make a bansuri, one needs to select suitable bamboo that is straight, smooth, and free of cracks or knots.
Traditionally, a bansuri is crafted from a special type of bamboo that grows naturally to long lengths between its knots.
These bamboo varieties are abundant in the northeastern and western Ghats states of India.
The process begins with harvesting bamboo of the desired length and diameter.
Essentially, the length and diameter (wall thickness) of the bamboo determine the tone range and octave tuning of the bansuri.
The longer and thicker the bamboo, the lower and deeper the sound.
The suitable bamboo for this purpose is then cut, dried, and treated with natural oils and resins to enhance its strength.
The bamboo should be seasoned for at least a year to prevent splitting.
Tone Hole and Finger Holes
Once the bamboo is prepared, artisans inspect the smoothness and straightness, measuring the dried hollow tube and ensuring it’s free of cracks.
They mark precise positions for holes and use hot metal rod skewers to burn them in.
The blow hole is made near one end of the bamboo by burning (or drilling) with a hot iron rod.
The finger holes are made along the length of the bamboo by measuring the distance between them according to the desired scale.
The finger holes are also burned (or drilled) with a hot iron rod.
The avoidance of drilling and other hole-making methods is believed to preserve fiber orientation and prevent damage that could affect music quality.
After burning, the edges of the holes are sanded to smoothness and polished to avoid air leakage and improve the sound quality.
Then one end is plugged, the flute is ringed at various positions for stability, and the unit is tested for musical performance.
Tuning
When all the finger holes are in place, the bansuri is then tuned by adjusting the size and position of the holes until the desired notes are produced.
The distance and diameter of the finger holes control the notes played, and artisans adjust these dimensions to achieve the purity of musical notes.
The tuning of the bansuri can be either equal temperament or just intonation, depending on the preference of the musician and the style of music.
Some bansuri makers also offer custom scales and frequencies, such as 432 Hz, which is believed to have healing properties.
Once all the holes are within their performance range, the bansuri is immersed in natural oils, cleaned, dried, and adorned or bound with silk or nylon threads.
The simplicity of bamboo, combined with the craftsmanship of skilled artisans, results in an instrument that resonates with nature.
A well-tuned bansuri becomes more than just a musical tool; it becomes a connection between the artist and the environment.
How to Play a Bansuri
To begin playing the bansuri flute, it is important to follow these steps:
Position the flute horizontally, ensuring that it is held at a slight downward angle. This allows for better control and proper alignment while playing.
Use the pads of your fingers to cover the holes on the flute. The placement of your fingers in these holes determines the pitch of the notes produced. Practice finding the correct finger positions to achieve the desired tones.
When placing your lips on the embouchure hole (the blowing hole), aim to cover approximately 1/5th of it with your lips. This technique allows for a focused stream of air to be directed across the hole, creating a resonant sound.
As you blow into the flute, make sure to blow the air across the hole rather than directly into it. This blowing technique, known as an embouchure, produces the characteristic sound of the bansuri flute.
Begin your articulations with a ‘Puh’ syllable. This initial sound helps create a clear and precise start to each note or phrase played on the bansuri flute. It aids in achieving a clean and distinct sound.
It is important to note that when playing the bansuri flute, you should avoid blowing as far down the flute as you would on a Western C or Dizi flute. The bansuri flute has a different design and requires a different blowing technique to produce the desired tones. Experiment with the correct blowing depth to achieve the best sound quality.
By following these guidelines, you will be able to get started on playing the transverse bansuri flute and begin your journey into the beautiful world of this traditional instrument.
Practice, patience, and experimentation will help you further refine your skills and explore the nuances of bansuri.
Musical Note
Musical notes on the bansuri are created by manipulating the six holes on the instrument.
These holes are enough to generate the seven fundamental swaras: sa, re, ga, ma, pa, dha, and ni.
These Indian notes are equivalent to Western musical notes: sa for C, ni for B, dha for A, pa for G, ma for F, ga for E, and ri for D.
When all the holes are closed, it produces the bass scale, which is the root note of the bansuri (pa).
By opening the hole farthest from the closed end of the bansuri, it produces the note dha.
Similarly, opening the two farthest holes produces ni, three produces sa, four produces ri, five produces ga, and all holes open result in the note ma.
Each bansuri, depending on its design and construction, is specifically tuned to a particular key and tonal center, corresponding to the sa (shadja, natural tonic) of the swara scale.
This key is achieved through variations in the length and inner diameter of the instrument, as well as the size and placement of the finger holes.
This allows musicians to choose a bansuri that is constructed in the key of the music they want to create and perform.
Bansuri Care and Maintenance
Bansuris are well-known traditional bamboo flutes in India. They don’t require extensive maintenance like Western silver flutes, but proper care is essential.
While bamboo is known for its resilience and strength, it is also inherently delicate. A single forceful impact or even slight mishandling can result in the development of cracks in your Bansuri.
To preserve the longevity and melodious lifespan of your Bansuri, here are a few maintenance suggestions to consider.
First and foremost, the most effective way to maintain a Bansuri is by playing it regularly and keeping it in a moderately humid environment.
Unlike some instruments, there’s no need to wipe the inside of this bamboo flute after playing. However, it’s crucial to be mindful of the bamboo’s moisture level and temperature changes.
Excessive dryness or sudden temperature shifts can lead to cracking. Avoid leaving a Bansuri in hot, dry places, like a car in the summer, for extended periods.
If it does end up in such conditions, handle it carefully when playing to prevent cracks caused by the sudden exposure to breath moisture.
When a Bansuri’s bamboo body gets very cold and warm air is blown in, there’s a risk of expansion and cracking.
Allow the Bansuri to adjust to room temperature before playing, or gently warm it with your hands if time is limited. Also, avoid playing at temperatures below 15 degrees Celsius.
Mold can develop over time on the interior where the instrument is blown, indicating the presence of bacteria.
Some players use a small amount of antibacterial soap, occasionally mixed with water, on a dowel with a cloth to wipe away the mold.
Ensure the soap won’t harm the bamboo. Others opt to wipe off the mold using a cloth.
Note
By following these guidelines, Bansuri players can maintain the integrity of their instruments and enjoy their melodic sounds for years to come.
Oiling the Bansuri
Bansuri players employ the use of oil on the interior of their flutes as a means of safeguarding and prolonging their lifespan.
It is believed that the application of oil results in a smoother inner surface, thereby enhancing the clarity of the sound produced.
The preferred oils for this purpose are those that possess a highly fluid consistency and are devoid of resin, such as almond oil, mustard oil, or walnut oil.
To apply the oil, it is recommended to warm it to approximately body temperature.
A wooden dowel with a loosely tied piece of cloth at the top can be utilized for this process.
Carefully and gently insert the dowel into the flute’s interior, ensuring that the cloth is not excessively saturated with oil.
Allow the oil to permeate the flute’s inner surface for a duration of approximately 30 minutes.
Take caution when applying the oil in close proximity to the blow hole while being mindful not to come into contact with the cork, as doing so may impact the pitch.
It is crucial to refrain from oiling a damp bansuri, as it should be completely dry before the application of oil.
Prior to applying oil, it is important to ensure that the bansuri is free from dust. It is also advisable to refrain from using oil in areas with excessive dust.
Opinions regarding the frequency of oiling diverge among Bansuri players.
Some assert that it should be oiled once upon acquisition and then never again, while others propose oiling multiple times throughout the year.
Nevertheless, it is important to note that oiling is not obligatory, and there are players who advocate against its usage entirely.
Note
The decision to oil the bansuri may be influenced by the climate in which one resides.
Oiling could potentially prove more beneficial in excessively dry climates as compared to humid ones.
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