The Carnatic flute (known by the generic Sanskrit word for flute, “venu”) is a simple system bamboo flute employed in South Indian classical and temple music. It is the oldest classical music bamboo flute tradition in India - older than the larger North Indian bansuri-s which were only classicised by Pannalal Ghosh in the early part of the twentieth century.
My interest in one key traversos is the chromatic range possible using a traditional D key flute still suitable for ITM. The disadvantage with traversos had been the weak volume and, in some cases ( I believe), the restrictive octave range. Monsieur Beaudin appears to have overcome this disadvantage.
For interest and the prospect of my further education …
Its a beautiful duet isn’t it. There is a childlike innocence in this isn’t there? Quite a nice contrast to the Hindustani tradition which tends to be more “romantic” and which has some noticeable Persian elements.
Lovely, and quite different from the music of Northern India. Oddly enough, Carnatic music has always had a greater familiarity to my Western ear than does the Hindustani tradition.
As a Boehm player, I took up the one-key flute, for maybe a year or so, before coming to a modern, Irish flute.
Years ago, I heard that a one-key flute could be considered as being fully chromatic, and that is where I got started with a one-key flute. Indeed, a one-key flute can go all the way around the circle of fifths. However, in the course of going fully chromatic, quite a few cross-fingerings are employed.
It was at about that time that I came of the opinion that perhaps cross-fingerings could be heard more as a distant duck on a foggy day. OK, perhaps the occasional cross-fingered note could add a measure of, er, authenticity, to an equally antique melody, but, frankly, going fully chromatic on a one-key flute became more of an academic exercise, and simply not musically satisfying.
In addition, one-key flutes generally have a relatively small embouchure hole (and more limited venting), which apparently limits the power available to the flute.
Then, along came a modern Irish flute, and it did much better, but, it was tuned to favor certain keys, to the exclusion of some other keys, apparently.
Today, I now have a few Irish flutes, in different diatonic keys, which may seem less efficient than having only one, one-key flute, but I am a happy camper.
I’ve corresponded with Tom Aebi about his small holed Rudall and he stated that it cross-fingered well with the addition of an Eb key (like Peter Noy’s).
I’ve played Daniel Deitch’s Palanca model and thought it would make a great irish flute. loud, easy to play, and powerful tone… amazing for something with tiny little holes.
