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I recommend spending time searching for some of the names mentioned here - Panallal Ghosh for example - on Internet sources such as YouTube, to get a firsthand feeling of this wonderful instrument and in future articles we can go deeper into individual artists, styles and techniques associated with the wondrous Bansuri.STORY: Madan (Ankan Mallick), a young boy who lives with his mother and grandfather, vows to become a flutist like his absent father Sadashiv (Anurag Kashyap) when his mother describes him as a great musician. See also Facing Beloved from the CD of the same name. Bach’s Siciliano section of the Eb major flute sonata (the references start about 4 minutes in)……performed on the bansuri. Or what if JS Bach had gone to India? This piece of music references J. Thankfully, due to the internet and YouTube, many good recordings and demonstrations of the bansuri can be seen or heard, for example. As well as that, in my East/West group Facing East I play the bansuri with keyboards, bass, guitar, drums etc….and we play in contexts that are Indian but also with jazz flavors as well.
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Bach flute sonatas and find they are very beautifully rendered on the bansuri, although much practice is needed to achieve the correct intonation on these pieces. In fact, I am now working on some western classical flute literature on the bansuri such as the J.S.
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Because my background is also in western classical music as well as jazz and other forms, I have begun playing the bansuri in many musical contexts. What I began to feel was that this beautiful instrument is very well suited to Indian music but also is wonderful in several other styles and genres. Over the next 12 years I continued at the conservatory until I had obtained 2 degrees. Then, in 1994, I enrolled at the Rotterdam Conservatory where Hariprasad Chaurasia had started teaching. Over the course of two years in India much was covered. This process would go on and on, hour after hour and day after day, until the rāgas and Hariprasad‘s approach became deeper and deeper. Hari-ji‘s classes were very simple – he would mostly just begin playing a phrase and then leave room for me (or us when there were group classes) to repeat what he had just played. With the extensive recordings and touring of Pandit Chaurasia, the North Indian bansuri is now known all over the world as a special instrument with unique expressive abilities. Musicians such as Pannalal Ghosh drew more intensely from the vocal tradition of North Indian music, while more recent innovators, such as Pundit Hariprasad Chaurasia have drawn much from instrumental technique. What is especially unique about the bansuri is that it is able to draw on both the vocal and instrumental traditions of Indian music. This much deeper tone and the great expansion of technique developed originally by Pannalal Ghosh has made the bansuri into the very well respected instrument it is today, within the classical music world of North India. With the innovations brought about by Pannalal Ghosh, who was a disciple of the great Indian master Allaudhin Khan, the bansuri was extended to a larger instrument of more than 30 inches.
#Bansuri the flute full
It was felt that this instrument was not able to express the full import and richness found in the classical ragas of Indian music and was mainly for light music or short classical pieces. Until the late 1950’s and 1960’s, the bamboo flute of North India had been thought of as mainly a folk instrument and usually not more than 14 inches long.