Professional Documents
Culture Documents
Carnatic Flute
No part of this presentation either wholly or partially
be used as references without the mention of the
Vamshidwani institution. For the propagation and
promotion of the arts, conditional rights will be given
upon written requests.
Ver 1.0
Objectives
• Create an awareness on the nature of the
Carnatic flute & the Hindustani flute
• Technique
• Performers
• Survival
• Conclusion
Origins
Topics:
• Early Music
• Sangam Music
• Post-Sangam Music
• Vedic Music
• Modern Era
Origins – Early Music
• Across many cultures around the world, the
flute has been the first melodic instrument
that has captured the imagination of man
• Materials
Bamboo however, became the preferred instrument
in the East over centuries of evolution by Japanese,
Chinese & Indian scholars
– Ekavira - Vasu
– Umpati - Nathendra
– Tripurusha - Mahananda
– Chaturmukha - Rudra
– Panchavaktra - Aditya
– Shanmukha* - Manu
– Muni - Kalanidhi
– Ashtadasangula
• They were also the first & the last southern kingdom
to patronize Sangam music in the courts & temples
before being absorbed into the Vedic traditions in the
early years of the first millenia A.D.
Origins – Vedic Music
• The spread of Vedic philosophy from the
Gangetic plains of North India through
conquests & intellectual interaction made
possible for new discoveries in the evolution
of Hindu music by the invention of the vina,
which according to the research of the world-
renowned musicologist of Carnatic music,
Padma Bhushan Prof. P. Sambamoorthy had
its origins from the flute
Origins – Vedic Music
• With the rise of the Vijayanagar empire & the
decline of the Cholas, the influence of Vedic
music took precedence as its vocal music
tradition appealed more to the educated elite
of the royal courts
• Shadjam
– Mandira & Thara
Sthayi
– Played by closing
the first 2 finger
holes from the blow
hole
– Thara sthayi
Shadjam is played
by overblowing, until
a shrill is achieved
Technique – Basic Fingering
• Suddha Rishaba
– Mandira & Thara
Sthayi
– Played by partially
closing the 2nd finger
hole from the blow
hole & closing the 1st
hole
– Thara sthayi
Rishaba is played by
overblowing, until a
shrill is achieved
Technique – Basic Fingering
• Chatushruthi
Rishaba
– Mandira & Thara
Sthayi
– Played by closing
the 1st finger hole
from the blow hole
– Thara sthayi
Rishaba is played by
overblowing, until a
shrill is achieved
Technique – Basic Fingering
• Sadarana
Ghandaram
– Mandira & Thara
Sthayi
– Played by partially
closing the 1st finger
hole from the blow
hole
– Thara sthayi
Ghandaram is
played by
overblowing, until a
shrill is achieved
Technique – Basic Fingering
• Antara Ghandaram
– Mandira & Thara
Sthayi
– Played without
closing any finger
holes
– Thara sthayi
Ghandaram
fingering may vary
with different flutes
Technique – Basic Fingering
• Suddha
Madhyamam
– Mandira & Thara
Sthayi
– Played by closing all
finger holes except
the 1st & the 7th holes
– Thara sthayi
Madhyamam is
played by
overblowing, until a
shrill is achieved
Technique – Basic Fingering
• Prathi
Madhyamam
– Mandira & Thara
Sthayi
– Played by closing
the first 5 holes &
partially the 6th hole
– Thara sthayi
Madhyamam
fingering may vary
with different flutes
Technique – Basic Fingering
• Panchamam
– Mandira & Thara
Sthayi
– Played by closing
the first 5 holes
– Thara sthayi
Panchamam
fingering may vary
with different flutes
Technique – Basic Fingering
• Suddha Dhaivatha
– Mandira Sthayi
– Played by closing
the first 4 holes &
partially closing the
5th hole
– Thara sthayi
Dhaivatha fingering
is rarely played &
only possible in
certain flutes
Technique – Basic Fingering
• Chatusruthi
Dhaivatha
– Mandira Sthayi
– Played by closing
the first 4 holes
– Thara sthayi
Dhaivatha fingering
is rarely played &
only possible in
certain flutes
Technique – Basic Fingering
• Kaisiki Nishada
– Mandira Sthayi
– Played by closing
the first 3 holes from
the blow hole
– Thara sthayi
Nishada fingering is
rarely played & only
possible in certain
flutes
Technique – Basic Fingering
• Kakali Nishada
– Mandira Sthayi
– Played by closing
the first 2 holes &
partially the 3rd hole
– Thara sthayi
Nishada fingering is
rarely played & only
possible in certain
flutes
Technique – Basic Fingering
• Playing Posture
– Posture should be
upright & elbows
perpendicular to the
ground
– Head should be
straight
– Position of the flute
may be tilted
accordingly but may
change when
handling certain
swaras
Technique - Advisory
• It is to be noted that the above demonstrations only
serve as a introductory guide to the budding flute
student