Notes and Notation

Notes & Notation

The Notes

Do Re Mi Fa So La Ti Do (A relative scale)

Bansuri use a relative scale, similar to the 'do, re, mi' concept. The notes are not measured in pitch (hertz), but are in relation to the first note. Western scales are usually 'absolute', based on 'A = 440 hertz' and 'middle C' which is 261.626 hertz, so that each note is measurable and can easily be repeated anywhere around the world, on any properly tuned instrument. This is possible because 'hertz' are measurable units of vibrations per second. Relative scales can start anywhere, so 'do' might be 'C' or it might be any other note or a note that is unrelated to western pitch. Furthermore, the notation system is based on finger position, rather than tone. What this means is that;

Songs can be played on any bansuri, regardless of flute length. Key is not a constraint. The same tune will sound different on 2 flutes of different keys, but the playing and notation method will not change. The `notes` represent finger positions, not tones.

Bansuri have 6 playable holes (usually), and the basic scale starts with the top 3 holes closed. This note is 'Sa'. The basic scale is as follows; (I have added rainbow colours for ease of visualization).

Sa Re Ga ma Pa Da Ni Sa

Sa (Top 3 holes closed)

Re (Top 2 holes closed)

Ga (Top hole closed)

ma (Top hole half closed - I use a small 'm' here, because there is also 'Ma'.)

Pa (6 holes closed)

Da (Top 5 holes closed)

Ni (Top 4 holes closed)

From this point we will reach Sa one octave above our starting note, with the same finger position as we started with, 3 holes closed. The upper octave is reached by changing your mouth shape (embouchure) which refocuses the air. Bansuri can play two to two and a half octaves, more on this later!

The Notation System

We need one system for the lower octave, one for the middle octave and another for the upper octave.

For the lower octave, we write;

,S ,R ,G ,m ,P ,D ,N

However, bansuri cannot play the first 4 of these notes, and so you will not see them notated in bansuri music. The first complete scale on the bansuri starts in the 'mid octave' at S.

The full basic scale is;

S R G m P D N

Even though this scale is notated without lower or upper octave marks, on bansuri, the first 4 notes are made by blowing the lower octave, but to reach the next 3 notes you will have to alter your embouchure to find the next octave for those finger positions. This seems counter intuitive at first, but makes sense if you keep in mind that the scale begins with 3 holes closed.

'S 'R 'G 'm 'P 'D 'N are used for the octave above.

Half notes (called 'Komal Swara') are frequently played, and are notated using small letters (lower case alphabet), as in 'ma' in the basic scale.

,d (Five and half holes closed, lower octave)

,n (Four and a half holes closed, lower octave)

r (Two and a half holes closed, lower octave)

g (One and a half holes closed, lower octave)

m (Half a hole closed, lower octave) * Although this note is a half note, it is not considered 'Komal Swara, as it is included in the natural scale.

M (All holes are open, lower octave) * The natural scale is played with the note 'm' as a half closed note. But sometimes scales will call for this note to played totally open. This is notated as 'M'. So during the practice sessions, if you see 'm' you will know this is maplayed with the first hole half closed, and 'M' is played with the first hole totally open.

Songs can be notated without an indication of octave, or showing S rather than ,S for the sake of ease. Songs are handed directly from teacher to student by playing rather than as a score, so the notation system is not always 100% accurate.

Common student flutes are tuned to Sa = G or shorter, such as G＃. These flutes are short enough for most beginners to be able to play. Most concert flutes are Sa = E, but these are longer and require more skill to play. Longer flutes have deeper notes but lack the responsiveness and expression of higher flutes. For children (aged between 7 - 14), a Sa = C is a suitable sized flute.

Rag Yaman

1. S R G M P D N S'

S' N D P M G R S



2. SS, RR, GG, MM, PP, DD, NN, S'S'

S'S' NN, DD, PP, MM, GG, RR, SS



3. SRG, RGM, GMP, MPD, PDN, DNS'

S'ND, NDP, DPM, GMP, MGR, GRS



4. SRGM, RGMP, GMPD, MPDN, PDNS'

S'NDP, NDPM, DPMG, PMGR, MGRS



5. SG, RM, GP, MD, PN, DS'

S'D, NP, DM, PG, MR, GS



S R S S R G R S S R G M G R S S R G M P M G R S S R G M P D P M G R S S R G M P D N D P M G R S S R G M P D N S' S' N D P M G R S

This might look extremely difficult, but its not, its actually a sequence of Asthayee alankars. If you break it up you will see the following pattern:



S

S R S

S R G R S

S R G M G R S

S R G M P M G R S

S R G M P D P M G R S

S R G M P D N D P M G R S

S R G M P D N {S}, {S} N D P M G R S



7. S G R M G P M D P N D S'

S’ N D P M G R S



8. S’ D N P D M P G M R G S

S R G M P D N S'



9. S G R S S M G R R P M G G D P M M N D P P N D N S' S' D P M G R S



10. S' D N P P D N M M P D G G M P R R G M S S R G M P D N S'



11. S D P M R N D P G D P M M N D S'

S' D N P D M P G G P M G R G R S

What is Raga

WHAT IS A RAGA?

This if very difficult to explain, but I will do my best here.

The word "Raga" literally means "what colours the mind" and often in music books you will find all kinds of heavy worded and poetic descriptions, however for the sake of helping you understand what a raga is, I will explain it as simply as I can at first before giving the more complex descriptions. It is important also to know that there are hundreds of ragas - all with different names, some are more common than others.

A raga is basically a melody produced by playing a set of specific notes and adhering to certain rules. Each raga, which is always improvised in Indian music, gives a different feel. So one improvised melody might make us think of romance, another might make us feel very calm and another might make its listeners feel sad.

Imagine someone saying to you "Ok so now you can play on the bansuri the normal notes; Sa Re Ga Ma Pa Dha Ni Sa, but now you must only play specific notes and some notes you must not play at all".

The natural scale of the bansuri is Sa Re Ga Ma Pa Dha Ni Sa (excluding half notes) - but when we play different ragas, we select only some of these notes. For example Raga Bhupali uses the following notes ascending: Sa Re Ga Pa Dha Sa and descending Sa Dha Pa Ga Re Sa (Note that with Raga Bhupali the notes are the same ascending and descending but this is not the case with all ragas).

You will notice in this Raga Bhupali that Ma and Ni are omitted (not played at all). So instead of playing SRGMPDNS, you play SRGPDS.

So we now know that Ragas consist of certain notes which must be played and other notes which must be omitted. The next thing you need to know is that some notes have more importance than others. So with each raga, there is a VADI (a ruling/king note) and a SAMVADI (a vice-ruling/queen) note. For Raga Bhupali, the vadi (most important note) is: GA and the Samvadi (Second most important note) is DHA. So when a musician plays Raga Bhupali, he or she will play these notes longer or may start or stop on these notes.

Furthermore, ragas are traditionally played at different times of the day. Some ragas are played in early morning and other in the evening after sunset etc. Nowadays these rules are not always followed however.

Raga Bhupali is traditionally played in the evening between 6pm to 9pm.

As I mentioned before, each raga creates different emotions and feelings. These include: Shingara (romance), karuna (pathos), hasya (cheerfulness & humour), raudra (anger & fury), vira (courage), bhaya (fear), bibhatsa (disgust), adbhut (surprise & wonder), shanta (peace), viraha (absence or separation), madhurya (sweetness & ternderness), vatsalya (motherly feelings) and kama (eroticism) and also Bhakti (devotion).

Raga Bhupali is a Bhakti (devotional) raga and creates this mood. It is also often associated with the separation of a lover.

When you learn a new raga, you will learn first the Aroha (Ascending scale - notes played from bottom to top) & avaroha (descending scale - notes played from top to bottom), then you will need to know the Vadi & Samvadi and also the Pakad. The pakad refers to typical (and generally accepted) patterns of notes associated with a specific raga and which will help you to bring out the essence and full feeling of a particular raga. These notes are played over and over again throughout a performance and that is why it is important to know them. The pakad also helps players identify which raga is being played.

Now - Musicians usually explain ragas in a completely different way. Pandit Hariprasad Chaurasia once said "For me, ragas are gods or goddesses, all members of a great family. I can call one of them any moment and immerse myself in its musicality; their personalities are so rich and complex that I never feel lonely". So we can see that performing ragas is much more than just playing notes, it is like painting a picture in front of an audience and trying to convey all the emotions and make a beautiful painting.

Now let's bring a small composition together for Raga Bhupali (sometimes also spelt bhoopali or called Bhoop)

RAGA BHUPALI

Aroha (Ascending): S R G P D S'

Avaroha (Descending): S' D P G R S

Vadi (Important note): G

Samvadi (2nd important note): D

Pakad (Punch-line): G, R, S 'D, S R G, P G, D P G, R, S

How to play the composition:

The composition is divided into 2 parts. The "Sthayi" which is the first part of the composition and is a central and dominant part of the composition, played many times and which allows us to express the lower register; and the second part called the "Antara" which allows us to explore the higher register and then come back to the lower register and go back to the beginning of the sthayi.