my classroom


This section of my website is for those who actually play the flute, the Indian bamboo variety.

It was almost 20 years ago that I made my first flute, ergonomically designed to suit me, and with some small modifications which would help me explore Gayaki to the fullest. It took another 5-6 years to be able to handle and use it fluently, suddenly opening the whole spectrum of Hindustani music, with no restrictions on the Raga or the Bandish.

I have been making my own flutes, and all my students now play the flutes of my design. As more and more choose to play this flute, Anand Dhotre in Mumbai stepped forward, and is making these flutes. I fondly call it the “E” Flute. E here stands for Ergonomic design, and of course the flute is of the Key “E”, which perhaps is best suited for Gayaki style of playing.

The purpose here is not really to teach, but rather share some of my teaching sessions. I would like to invite you to my Classroom, and do hope that I am able to infect you with the happiness I derive from my own Riyaz and teaching…

  • A broad roadmap to becoming a classical performing musician October 8, 2013

    I am glad that this has come up as the very first question on this forum…

    Unless you are born in a musicians’ family, you really do not know what and how much you have to go through, to become a performing musician. I myself have said a few times that I completely underestimated the effort and time required ( and still working at it!).

    I think the process can be broadly divided into three basic stages:

    ·         Stage I : The How Stage.

    This is the beginning part. The focus is on producing a good sound out of the flute. You also learn to play all the swaras to a reasonable level of accuracy. Then you  go on to play various alankars in Laya. The tempo should always be just so that clarity is maintained. Speed should never be the aim at the expense of clarity.

    In short, the focus of this stage would be on developing the playing skills and dexterity.

    During this stage, I strongly feel that you should also try and play popular songs, as many as you can. This will help develop the sense of melody, and will ease the process of connecting the notes.

    ·         Stage II: The What Stage

    This, I think is the most difficult phase.  You can now play the flute reasonably well, but do not know what to play.

    You are getting more and more acquainted with the concepts of the raga and tala, and are able to play a few bandishes. How to expand and develop on the bandish using various musical material ( like alaap, taan etc.) is what you are learning during this stage.

    What is really required is to internalize the structures of the raga and tala, wherein you get these into your subconscious. So you do not deviate from the structure of the raga, and are also able to comfortably catch the mukhada and arrive on the sama.

    You are now able to present a raga through both Vilambit and Madhya/drut bandishes, and are able to give a reasonable level of performance. 

    ·         Stage III: The Why Stage

    The aesthetics, or the core of any art form, is a different matter however, and develops as you start finding the answers to the “why” question.  Only then you can begin to form your own aesthetic sense, and aspire to make every single moment of the presentation meaningful. This is the stage where you graduate from just being comfortable in your presentation, to the ability of trying and making it beautiful.

    These stages of course are not discrete and exclusive, but there would be overlaps, and you would keep going back and forth, consolidating your own concepts, and honing your skills to finer and finer levels.

    As you go along, you also start realizing that just “understanding”  something, and being able to do it beautifully on the flute, are two different things, and there is a huge gap between these. Riyaz is the process of bridging this gap, and this process happens at a much slower pace than you would expect when you begin.

    Lastly and most importantly, you need to be lucky to find a guru who guides you through the whole journey.

    Continue reading →
  • Hello and welcome to my riyaz room…. September 20, 2013

    Hello and welcome to my riyaz room…

    Learning music to become a performer has two sides to it : The music side and the instrument side. 

    Be it any instrument, (includes singing where you yourself are the instrument), you need to develop the ability to produce the desired sounds out of it, and exercise control over them. This relates to the technique aspect of music.

    However, you would not know what to play, unless you also learn the other aspect of music, which is well, simply music. You need to understand the basic musical concepts, and the framework within which they are applied.

    So while on one side you learn to handle the bansuri with ease, you also need to start understanding the concepts of Raaga, Swar as applied to raga, Laya and Taala, and then their application to the actual presentation, i.e. rendering a Raaga through either the khayal or the alaap/jod form.

    Within this page, we will touch upon the technique aspect of the bansuri, and specific musical questions related to bansuri playing.

    The musiquest section on this site will take you through the other part, i.e. musical concepts and their application to performance, with regard to Hindustani music.

    While I have not yet made a particular sequence, I plan to add numerous posts on topics related to bansuri playing.

    Any questions coming from you will perhaps set the course….

    Ready-made company .

    Continue reading →