Bansuri Tuning

Generally  Bansuri are tuned to kalyan scale, because in india it is played as top 3 holes closed as “Sa”

So if you assume it as “Sa” and Ratio 1:1

Then lower Ni will be 15:8 low than this “Sa”

Lower Dha will be lower 5:3

And lower Pa will be lower 3:2

And the tuning will be

3:2(1.5)/5:3(1.67)/15:8(1.88)/1:1(1)/9:8(1.13)/5:4(1.25)/45:32(1.41) (Pa-Dha-Ni-Sa-Re-Ga Tivra Ma)

Now if you play this bansuri with 3 holes closed as Sa than everything is OK.

But if you play this bansuri with all holes closed as Sa then the ratio changes (dividing all by 3:2,From Sa onwards divide by 3:2/2=3:4)

1:1(1)/10:9(1.11)/5:4(1.25)/4:3(1.33)/ 3:2(1.5)/5:3(1.67)/15:8(1.88)—(Sa-Re-Ga-Ma-Pa-Dha-Ni-Sa)

You see Re is Flat here if you play all holes closed as Sa

So to conclude tuning depends on how you play if you play 3 holes closed as Sa then tuning is shown above(first one), in short 3 holes closed then tuning kalyan and all holes closed Sa then tuning bilawal

The Making of a Bansuri

Although, the flute is a relatively simple instrument in terms of design, the process of making a professional quality flute can be quite complex. 

Bamboo, the raw material is a product of nature and its physical properties like density, thickness, internal diameter etc are not uniform. These factors need to be kept in mind while making a flute and their effect on the character and tone of the instrument can only be judged by experience.

The flutes are carved out by hand. The process begins with selecting the right piece of bamboo. The ratio of length vs diameter is an important factor in this. Other considerations are the thickness of the bamboo, the desired scale and the number of knots present.

The bamboo is then cut to a length slightly longer than what is finally required and the knots are removed.

After this, a position for the blowing hole is decided keeping in mind the curvature and the physical structure of the bamboo.

The blowing hole is then made by burning the bamboo with a hot iron rod. A cork is fixed inside the tube near the blowing hole in such a position so that the main note and its octave can be played with maximum ease.

Measurements are made and the bamboo is again cut to achieve the correct pitch. Similarly, other holes are marked and burnt into the bamboo.

The next step and the most complex one is that of tuning the flute. The flute has to be tuned by adjusting the size of the holes. The holes can only be widened and not shortened, so if an error is made at this stage, the entire flute goes waste. This is where the skill of a seasoned craftsman is put to use.

The flutes are tuned strictly to the pure diatonic scale and not to the tempered, chromatic scale.

Once the flute is tuned it is washed and dipped in a mixture of various oils and antiseptic solution for over 24 hours. After this, the oil is allowed to drain for another 24 hours.

The flute is now ready to be played and some final touches are added.

Uttari Gunkali Raag

Uttari Gunkali
Thaat: Bhairavi
Jati: Sampooran- Sampooran (7/7)
Virjit Notes: none
Vadi: Sa
Samvadi: Ma
Vikrat Notes: R, G, D, N komal
Time: Morning
Aroh: S r g m P d n S*
Avroh: S* n d P m g r S

Learn to Play Bansuri - Part 6 - Playing Half Notes

Learn to Play Bansuri - Part 5 - Playing Scales with Key Change - Practical

Learn to Play Bansuri - Part 4 - Playing Scales with Key Change - Theory

Learn to Play Bansuri - Part 3 - Playing Natural Scale

Learn to Play Bansuri - Part 2 - Holding and Producing Sound

Learn to Play Bansuri - Part 1 - General Information

How to Play the Bansuri (Bamboo Flute)

Bansuri Bapu Flute Fusion

Comparison Of Notations By Indian and Western Music

By comparison, using the common tonic "C" for a western musician:

Carnatic Swara	Carnatic Notation	Hindustani Swara	Hindustani Notation	Western E.T.
Sa	S	Sa	S	C
Shuddha Ri	R1	Komal Re	r	D♭
Chatusruti Ri	R2	Shuddha Re	R	D
Shatsruti Ri	R3			D♯
Shuddha Ga	G1			D
Sadharana Ga	G2	Komal G	g	E♭
Antara Ga	G3	Shuddha Ga	G	E
Shuddha Ma	M1	Shuddha Ma	M	F
Prati Ma	M2	Teevra Ma	M+	F♯
Pa	P	Pa	P	G
Shuddha Dha	D1	Komal Dha	d	A♭
Chatusruti Dha	D2	Shuddha Dha	D	A
Shatsruti Dha	D3			A♯
Shuddha Ni	N1			A
Kaisika Ni	N2	Komal Ni	n	B♭
Kakali Ni	N3	Shuddha Ni	N	B

Note:
In Pakistan and Indian Sa, Re, Ga, Ma, Pa, Dha, Ni  Are also called as below.

The word Shuddha  are also called   Teewar
 

Sa      Is Also Called        Kharj
Ga     Is Also Called        Gandhar
Ma    Is Also Called         Madham 
Pa     Is  Also Called        Puncham
Dha   Is Also Called        Dhewat
Ni     Is   Also  Called      Nikhad

Raag Bhairvin

Bhairvin. Raag Bhairvin is one of the most popular ragas amongst the masses. It is an early morning raag but due to its immense popularity, musicians perform it at any time of the day. It belongs to the Bhairvin thath and is more associated with light classical genres such as thumris and ghazals. Many folk and film melodies are composed in this raag. The raag uses flat notes but some musicians make use of sharp notes to add beauty.

Ascent. Sa Re (flat), Ga (flat), Ma Pa Ga (flat), Ma Pa Dha (flat), Ni (flat), Sa.	Descent. Sa Ni (flat), Dha (flat), Pa Ma Ga (flat), Re (flat) Sa.
Vaadi. Sa	Samvadi. Ma or either Pa.
Chalan. Dha Dha Pa Ma Ga Ma Ga Re Sa- Dha Ni Sa Ga Ma Dha Dha Pa Ga Ma Ga Re Sa.	Pakar. Ma- Ga- Sa Re Sa- Sa Re Sa- Dha Ni Sa.

RAGA Megh

Megh. One of the oldest raags in Indian classical music. Megh belongs to the kafi thath and is associated with the rainy season. Notes Ga and dha are omitted in this raag. Its vadi is Sa and samvadi is Pa.

Ascent. Sa Ma Re Pa Ma Pa Ni (flat) Sa	Descent. Sa Ni (flat) Pa Ma Re Sa
Vaadi. Sa	Samvadi. Pa
Chalan. Re Sa Ni Sa- Re-Sa-Re-Pa- Ma Re Re Sa. Sa Re Re- Ma Re- Ma Ma- Ni Pa -Pa Ni- Ma Pa- Ma Re- Pa Ma Re- Sa-Re-Re Sa	Pakar. Re Re Sa Ni Sa- Ma Re Pa- Ma Re Ni Sa.

RAGA Aiman

Aiman or known as Yaman. An  early evening raag which comprises of seven notes. Raag Aiman is derived from the Kalyan Thath.  Its vadi note is Ga and samvadi  is Ni. Its unique feature is the use of the sharp Ma note.

Ascent. Ni Sa Re Ga Ma (Sharp) Dha Ni Sa	Descent. Sa Ni Dha Pa Ma (Sharp) Ga Re Sa.
Vaadi. Ga	Samvadi.Ni
Chalan. Sa Re- Sa- Sa Re Ga- Re Ga- Ni Re Ga- Re Ga- Ni Re Ga- Re Sa- Sa Re Ga Re Sa- Ni Dha Pa Ma Dha Ni Dha Ni- Re Ga Re Sa.	Pakar. Ni Re Ga Re Sa. Ma Re Ga Re Sa (special taan)

RAGA Darbari

Darbari. A very famous raag, said to be created by the celebrated Mian Tansen. Darbari belongs to the Asavari thath, its Vadi is Re and Samvadi  is Pa. Ga is weak in ascent and Dha is avoided in the descent. It is sung mostly in the lower and middle octaves. Its time of performance is late night usually during midnight. The speciality of the raag is that Ga and Dha are performed with "Andolan", in a way which seems that the notes are gliding.

Ascent. Ni Sa Re Ga (flat) Re Sa Ma Pa Dha (flat) Ni (flat) Sa	Descent. Sa Dha (flat) Ni (flat) Pa Ma Pa Ga (flat) Ma Re Sa.
Vaadi. Re	Samvadi. Pa
Chalan. Re Sa re ni sa re dha ni pa Dha ni Sa Re sa re ni sa re- ga-ga ma re- Sa ni Sa re- dha ni-pa-ni pa-dha-ni sa	Pakar. Sa dha ni pa- ma pa- dha ni- re

Raga Malkauns

Malkauns belongs to the Bhairvin thath and consists of five notes. Re and Pa notes are omitted from this raga.Ga, Dha and Ni are Komal Swaras. Its vadi is Ma and samvadi is Sa. The raag is performed during the night.

Ascent. Sa Ga (flat) Ma Dha Ni (flat) Sa.	Descent. Sa Ni (flat) Dha (flat) Ma Ga (flat) Sa.
Vaadi. Ma	Samvadi. Sa
Chalan. Ma Ma Ga Ni Sa Ni Ma ni Dha Ma Dha Ni Sa Ma Ma Ga Sa.	Pakar. Ni dha ni sa- sa ma ga- ga ma- dha ma- ga sa.