you perhaps have not checked out the info in thisgerardo1000 wrote:
I made a long research on the web and (as a non-expert) this is what I understand: although bansuri indian flutes are made in different sizes, including small ones, the "real" bansuris that Indian professional play are quite bigger than the Irish flutes, which usually are in the key of low D.
The most common key is low B (tonic E) or even lower !
This is what gives to a bansuri its distinctive fascinating deep sound.
It's the size, more than the design, that makes a difference between a bansuri and an Irish flute.
More over, even if the original bansuri flutes had six holes, most contemporary bansuri have seven holes.
Last but not least, I understand that the tuning could be a bit different from traditional western tuning. I was told that to a "western ear", a bansuri could seem a bit out of tune.
But I am no expert, and it would be interesting to hear from someone with more knowledge.
bansuri topic.
1. No one bansuri is more "real" than another when it comes to size. For a start the indic trad is a transposing trad meaning that anything and everything is transposed to a key suited to the singer (or instrument) and therefore those accopanying need to adjus6t constantly. Prior to the recent classisization of the bansuri it was the bansuris equal to and smaller than the D flute that were most common (and still are). It is only the classical tradition that sees a predominance of large flutes but this tradition is a very teeny weeny part of the WHOLE trad. And even in this portion the FOLK trad of bansuri is clearly acknowledged in performance, sourcing and diiscussion.
2. Most contemporary bansuris have only the six toneholes. Its only the classical bansuris that go for the pinky or lap hole.
3. There are issues of design that distinguish the north indian bansuri for other diatonic bamboo flutes. These are nicely explained by Doug Tipple.
4. yes, bansuris can often be tuned to a type of just Lydian intonation
from XXX OOO as opposed to an equal temperament Lydian from XXX OOO. In my experience this has never been a problem when playing with western music and I had discussed this in that other bansuri topic. (see link above).
The thing is that a classical bansuri is designed (with appropriate mastery of glissandi technique) to be able articulate every possible mode from XXX OOO or XXO OOO tonic with sliding technique including microtonal distinctions not possible on a keyed flute. (that is one of the hallmarks of mastery. I am not there yet.)
