The following is an extract from an interesting conversation we were having in our WhatsApp Group. This subject is, in fact, not much discussed but remains there as a ‘doubt’ in many new flutists. Although the conversation started on one topic and touched many other associated ones, but all of it is interestingly answers many questions that flutists or in that case, music lovers face. So, this conversation might be beneficial for all the flutists out there.
Krishnakant (KK): Hello all. My doubt is for all the hindustani classical flautists. What is the progression of flute size generally considered? Assuming we’re starting from c natural or a natural, in how many flutes does somebody reach an e bass flute? We’re talking about general population. So let’s remove huge hands and prodigious skills aside.
My flute’s around 19in. Is there a progress scale as a standard in hindustani classical?
Dr CBS Sengar (DS) : I can tell my experience. I started with C. When I was comfortable with C, I shifted to A. Similarly, after A, I picked up G. It took a while to become comfortable with G, then shifted to F# to F n, then finally to E. Many persons have started directly from E. I took a long time as I was not too eager to shift E so fast.
KK : Oh. Thank you sir. Is it something your guru recommends, depending on how you play or do we get to choose our comfort zone?
DS: No, it’s not like this. Many gurus recommend directly E or from G for those who intend to learn classical. Classical gurus do not recommflute smaller than G. For light music all prefer C.
KK : I see. That’s very scary to hear though. I come from a carnatic flute background where we start from d# or e. And we don’t really use bigger flutes. Hence longer flutes scare me a little. Starting from an e bass must be extremely overwhelming for beginners then!
DS: May be, I do not know. I know a few friends who started with E n started well. You pls go as per your comfort level.
Gopal Rao (GR) : My Guru started me on C. The rule of thumb is – what you are comfortable with. A month later I was put on E bass. Guruji said – practice daily. Within 3 months you will be comfortable. I managed to do it within 3 weeks. Nitin Aminji says – if as an adult you want to learn how to cycle – wouldn’t you start with an adult sized cycle and learn balance on it ? You would not start on a kids cycle. Similarly just start with a E bass directly. Why not ? Once my Guruji said – he starts with something comfortable to us also as a way to introduce us to flute – raise our confidence with the 7 notes being played and us feeling that we can do it !!!! That becomes possible when we start small. It makes sense now why they recommend small flutes. But now when we are immersed in our love for the flute – I recommend people to start off with E bass.
KK: Ok. I take this as a sign to start with E bass then.
Sridhar Narayanan (SN) : Start with a B or A if you are already comfortable with a shorter Carnatic flute. My teacher starts with that. Then to G or G#. And finally to E. At each stage, get comfortable with playing it as soon as you pick up the flute. Also the seventh (little finger hole) if your flute has it. Make sure you can play the lowest note of the flute immediately on picking up the flute. And the highest note (shouldn’t be problem usually with longer flutes). But what Gopal Ji says also makes sense. The longest flute you are comfortable with can be the one you start with. The seventh hole (which is a key part of the playing style of my teacher) is the reason he recommends smaller flutes first (the stretch of the fingers to reach that hole comfortably is usually the hardest part with longer flutes). But if the flute is a 6 hole flute or if the seventh hole is not used a lot), an adult can start off with a longer flute.
KK : I’m pretty comfortable with my d# as it’s my main flute since day1 of formal classes. But as you said, what scares me about larger flutes in carnatic is the pinky reach. And without the 7th hole control, the stability + gamak will take major hit but I’m ready to take the risk as I’m still young to afford it. I believe it’s a good investment. So you recommend going to an A/B then to G/G# and finally to E bass. Pretty standard approach too. I think this is what my guru would generally want me to do too especially taking the 7th hole into consideration but the greed to play a long one is sooo bad that I asked my guru for an ebass taking the signs universe(notes and sargam) sent me.
GR: My 2 paisa worth advice – inspite of owning 40 high end harmonica’s – I have kept away from learning it apart from occasionally indulging in them. That’s because I am yet to step into the stable world of flute playing. So my Guru alerted me from getting distracted in my blowing before it is steady & stable which in his view takes good flautists many years to accomplish. That’s why many flautists abound who can play songs , raagas etc but sound “ besura”.
Standing in the above principle – before you stabilise in Carnatic – and how busy you are as a Doctor who is unable to devote enough time for practice or even attend music classes – do you think it is wise to dabble into Hindustani Classical Flute ? And that too without a Guru ???
KK : Gopal ji….U got me wrong. I was buying an e bass carnatic flute. Not a hindustani flute. And I personally wouldn’t enter hindustani music without a guru’s help. Even prodigious Shashank subramanyam ji needed a pt jasraj Ji’s help. Why would I even do something like that And yeah, I remember asking pravin godkhindi ji on a online workshop about carnatic to hindustani transition to learn some different things. He advised to transition only after 10-15yrs of regular practice in carnatic as that’s what he believes the time it takes to have an extremely solid foundation in music as a whole. Carnatic to hindustani or vice versa.
GR : Wah. Thanks for correcting my lack of understanding.
KK: You said something about flautists who could play raagas and songs but still sounds off. If they could play a raag with a full length improvisation, it already means they’re trained formally. Why would a guru allow him to venture into improvisation without a command on pitch though?
GR: Oh. That is a BIG question. You are assuming that Guru’s themselves are that good. Not all are. There is no standard certification that certifies people to become a Guru. Many start teaching before they really can teach or may be good but don’t know how to teach. For monetary reasons. For fame. For many reasons. So one reason is – the Guru does not have that depth. Another reason is – students leave one Guru before that depth is established. Go to someone else as their priorities change – I want to learn this style or now I want to venture into something else – light music, commercial aspects etc. Some big Gurus teach everything to their students except some secrets which are given only to their favourite students.
If you have been attending Nitin Aminji’s sessions – you will know the answer to your question. A depth in music arises with the length of time spent on some notes or phrases or ragas or some techniques. Without putting in that effort and TIME – there is simply no depth possible. Seperately as I am very very close to Rohit – music composer – I have noticed that their mastery has come from monstrous amount of effort and time spent under the close watch of their Gurus to reach that level of ear training. Rohit is not a flautist. Many times sitting in his studio – while he is busy with his work – I sit in a corner & play the flute. Immediately he will say – Gopal bhai – pay attention to your pitch. That swar was off. And he is not a flautist. But his ear training can’t tolerate ONE swar being off.