"You have given good information about the bansuri and in my opinion this book should be a boon to a student who takes up flute sincerely and seriously." - Devendra Murdeshwar
 

A new book designed to offer a comprehensive beginning course in the technique of the north Indian keyless bamboo flute. Profusely illustrated with charts, exercises, photographs of playing positions, and decorative material, the manual will enable the student to learn authentic raga materials and methods of development, as taught by the master flutist and flutemaker, Shri Devendra Murdeshwar. The manual
explains fundamentals of a number of essential topics in Hindustani music. The scalar system, the concept of raga, microtonalism, the system of teaching and learning, and the instrument's history are all covered.

Students of the bansuri will, of course, find this book particularly useful. In addition, this manual will prove helpful to all flutists seeking to broaden their viewpoint and range of expression. Other students of Indian music may also find its viewpoint and method for teaching the music's performance highly useful.
Jazz musicians will find in it an especially useful compendium of scales and scale patterns which can be put to use in various contexts.

Chapters include information on the following subjects:

An Introduction to the bansuri.
Myth and history of the bansuri and biographical information on prominent players and teachers.
Holding and learning to play scales.
Learining to play a raga.
Learning a composition in Raga Yemen.
The ten scales of Hindustani music along with fingerings.
Bansuris in various keys.
Producing microtones.
Apprendices include a glossary of terms, bibliography, schools, sources of instruments and recordings.

The available cassette presents examples of all the major exercises and performed versions of all the compositions included here, as well as providing drone tambura and tabla accompaniment for the student's own practice. 74 pages. PG-13

Bansuri Sizes

Bansuris are made and played in sizes ranging from sub-piccolo all the way to mega-alto flute equivalents. Usually, concert instruments play a tonic note (which is taken with three finger holes covered) at around D-sharp or E-natural. A flute with an E-natural tonic is a whole-step higher than an orchestral alto flute.

Because the bansuri is a keyless instrument, playing a large one does require a substantial amount of practice to attain the proper grip and stretch out the hands to play with good control. Invariably, players begin on smaller, higher instruments and gradually work their way down (up?) to the concert-size.

The instrument recommended for How to Play the Bansuri is pitched at a tonic of C-natural (sounding on the third space of the treble clef). This is a very conservative choice and a comfortable size for any player, even a child aged ten to twelve. Any size of bansuri may be used to work through the material of the book. However, the C-natural instrument will work best because the examples on the accompanying tape are played on this size instrument. Therefore the student with a C-natural instrument will be able to avoid a possibly disconcerting mismatch of pitch. Additionally, since some of the exercises are provided in staff notation, these will sound at pitch when played on this instrument.

Six or Seven Holes?

The book is based on the method developed by Pannalal Ghosh which utilizes the bansuri with seven finger holes exclusively. While a six-hole instrument can be used to play the material, the results will not be as satisfactory, due to the inherent limitations of that instrument. The seventh fingering hole enables minimally an extra half-step of range, but it also creates many more possibilities of fingerings on various notes, particularly in negotiating register breaks in both directions.

Where to obtain a Bansuri Flute

My Guru, Devendra Murdeshwar, was kind enough to accept me as his student in 1965, when I first went to India on a Fulbright Grant. The principal disciple and son-in-law of Pannalal Ghosh, Murdeshwarji has creatively developed Mr. Ghosh's approach to bansuri and to raga music, adding still another facet to the many splendors of the Allaudin Khangharana. He has upheld the highest standards of musicianship and virtuosity, adding compositions of his own to therepertory and adapting a number of vocal compositions not previously played on bansuri. He has had an illustrious career as (the national former East Nonesuch and Rasa Music labels.

Murdeshwarji thinks nothing of playing solo recitals that consist of three solid hours of music, keeping audiences in their seats throughout. Few living flutists in any music culture can make that claim.

I am extremely indebted to him. Most of the Indian music I know, I learned directly from him. Whatever else I learned was basically because, with him as my Guru, I have been afforded entry into the homes and studios of many a prominent musician who also shared knowledge with me freely.

Murdeshwarji is the finest maker of bansuris on the planet! Pannalal Ghosh played on instruments made by him. All the best bansuris I play on were made by him. His instruments are marvels of workmanship, intonation, response and coloration and feel. No other maker has come even close to matching their quality. Furthermore, he has brought innovation to bansuri-making, adapting a number of ideas from Boehm's and other Westerner's work, showing immense interest in every possibility of further enhancing the capabilities of this deceptively simple-looking instrument.

Devendra Murdeshwar is a great teacher. He concerns himself with the entire individual, insisting only that the student commit passionately to the work of learning. Regarding my experience in India, I can only say that my Guru made me feel like a part of his family, helped me immensely in my own "discovery of India," opened doors for me in the music world and made me feel at home in every possible way. My Guru's wife, Sudha, who unfortunately passed away at a very early age, was also extremely kind to me. Her unfailing good cheer and devotion to music, which she knew extremely well, are an inextinguishable part of her memory to all who knew her.

Devendra Murdeshwar's teaching methods are demanding, effective and designed to promotethe development of creative musicians. Guruji always encourages the student to find his or her own way in the music, refusing to allow the student to simply memorize passages, long or short. Instead, he continues to provide inspired examples of each type of playing, and encourages one to catch on through practicing hard and "taxing the brain" (as he likes to say). So one must strive to remember in practice at home what he has shown in the lesson. In this method, if you can't remember exactly what you have been shown, you must try to create something as close as possible to what you remember. This forces you to grasp the "structuring principle" of the different types of improvization you are shown. Another facet of his teaching includes the personal inculcation of music history and theory in the course of expansive informal discussion. The result of all this devoted teaching is that he has produced a number of highly capable and creative players whose recitals also hold the interest of the audience.

                                                                                                      Copyright 1996, Lyon Leifer

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