BANSURI ALANKARS PDF
Alankars bansuri – Download as Word Doc .doc /.docx), PDF File .pdf), Text File .txt) or read online. Phone (03) Mobile email: [email protected]; [email protected] ALANKAR CONTINUED. 8. SA MA – RE PA – GA DHA – MA. Here I explain and demonstrate some of the techniques used on the bansuri to make the music sound more beautiful. I have included some videos to.
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Here I explain and demonstrate some of the techniques used on the bansuri to make the music sound more beautiful. I have included some videos to demonstrate these, although please note that they are not perfect and I am still working very hard on all the techniques myself.
These techniques require many years of pratice to perfect them. A grace note is when you play a note for a very short time compared with other notes – it is a flicker of that note. You literally tap the hole of the note – on and off very quickly. For example, you could play: So when you play this sequence of notes you will play Sa Re Ga then you will tap your finger on and off the grace note, in this case the Re hole very quickly, then playing Ga normally.
The idea here is that it must not sound long like the other notes, it must be very very short – remember just a tap! Try to play the grace notes in basuri following Alankaar practice exercises remembering to tap your finger very quickly alankasr the notes in brackets: Meend is when you go from one note to the other, for example from Ni to Sa in a sliding motion with your finger.
This creates a continuous, flowing sound. If you were to play Ni and then Sa normally, there would be a short gap between the notes and the notes would sound separate. However, by using meend, we can make notes slankars without having a gap. This is done in 2 ways; 1. To do meend from Ni vansuri Sa, play Ni and then slowly move your finger upwards until uncovering it completely.
I have made a video to demonstrate this below.
Alankaras for Bansuri | Flute Bansuri-Official Site
Notice how the music is continuous. The idea of tonguing is to make a banauri in the note you are playing and add texture to your music.
For example, if you play for example the note SA SA SA so three times the same note you could do this by blowing and stopping the air flow three times, however, your music will sound much better if banusri use tonguing. Can you hear how it separates banauri note? You can vary the amount of times you break the note. By saying Ta only once, twice, three times or ten. This adds texture to the sound.
You can also try saying other clusters of letters to ornament your music like: You will see that the sound changes slightly depending on the consonant, giving it a different effect each time. Another type of tonguing technique which is often used at the end of a composition is: Vibrato is a series of very quick changes up and down to the pitch of a note. I try to demonstrate vibrato in the video below. Gamak is quite difficult to explain but I will try my best.
The general term “gamak” means ornament and more precisely, it consists of beginning alankqrs note from above in a curved, sliding pattern – almost as if you were caressing the hole. It is similar to meend but much faster, so instead of going from one note to the next very slowly and continuing the sound, gamak is made by moving your finger up and down over a note as if caressing that note.
In the video below I demonstrate gamak. The video is in 3 parts. At first I play using gamak: I play the following using basuri In part 3, I play a small piece which includes some gamak in normal playing.
Andolan, meaning oscillation is the swing or alankarrs that starts from a fixed note and touches the periphery of an adjacent note.
It is produced alankras the bansuri in a similar way to the meend technique. In the video below, I demonstrate this by playing Ni and touch on the periphery of SA. I then use the same technique between Sa and Re.
By doing this, you touch upon microtones between notes. Note that I producing very slow andolan – but you can make it faster. You can make your music more interesting by altering the volume, for example by beginning softly by releasing less air and then increasing the air and slowly making a note louder and then making it softer again.
This sounds easy but requires a lot of practice to keep alnakars good steady clean sound. I demonstrate this in the video below. You will notice that I struggle a bit to keep a good steady sound.
A murki is a cluster of usually notes played around a main note to make it sound more beautiful. What distinguishes murki is that it is played relatively slowly and softly in comparison to khatka and zamzama which are more forceful, however it will be played faster than the main notes.
When a cluster of notes played very fast and with force to decorate or embellish another note, alaankars is called a khatka or gitkari. Khatka is basically the same as Murki but played faster and with more force. Aalnkars is similar to kan see above also because you tap the notes very very quickly.
Practicing Scales –
Like a khatka, it is once again a cluster of notes, used to embellish the landing note. Unlike a khatka, notes in a zamzama are played in progressive combinations and permutations like very fast ordered note clusters or taans. The end result sounds like a complex taan pattern with sharp gamaks. It is difficult to produce and requires a lot of practice.
Basically the difference between khatka and zamzama is that khatka only hits notes, whereas Zamzamas continue up and down the scale. This ornamentation moves so fast that it seems more like a texture than a line, almost as if you are painting up and down with a paintbrush to make the music sound beautiful.