Lesson 1: Basics

1. Getting Started with the Flute

Choosing your flute

Beginners usually start on either an E♯ scale (madhyama sruti) flute or a D scale (also called the "concert" length) flute. The E♯ flute is shorter, needs less breath pressure, and is the most common recommendation for new students. A longer D or C scale flute is typically taken up later once breath control and finger stretch improve.

Posture

• Sit cross-legged on the floor (or upright in a chair) with a straight spine.
• Hold the flute horizontally, angled very slightly downward.
• Keep both elbows relaxed and away from the body — don't hunch the shoulders.
• Keep the head level; turn slightly toward the flute rather than dropping the chin.

Holding the flute

• The left hand covers the three holes closer to the blow hole (nearest the mouth).
• The right hand covers the remaining holes further from the blow hole.
• Use the pads of the fingers (not the tips) to fully seal each hole — no air should leak.
• Rest the flute lightly on the base of the index fingers and the chin/lower lip; don't grip tightly.

Producing your first Sa (tone production)

1. Close all finger holes for the base "Sa" fingering for your flute.
2. Rest the blow hole gently against the lower lip, roughly covering half of it.
3. Shape the lips into a small, narrow opening (as if saying "phoo" softly).
4. Blow a slow, steady stream of air across (not into) the hole.
5. Adjust the angle and lip position until you hear a clear, steady tone rather than air noise.
6. Practice holding this single Sa for as long and as steadily as possible — this is the foundation of good tone (nada) for everything that follows.

Daily long-tone practice on Sa (and later Pa) builds the breath control every subsequent exercise depends on.

2. The 7 Notes & Fingering (Sa Ri Ga Ma Pa Da Ni)

These diagrams use the conventional 6-hole teaching bansuri — the standard beginner instrument model, with six finger holes plus the embouchure (blow) hole. Holes are numbered 1 to 6, with hole 1 closest to the embouchure (played by the left hand's first finger) and hole 6 farthest away, nearest the right hand's little finger. A filled/dark circle means the hole is closed (covered); an open/outlined circle means it is lifted (open). All seven notes below start from the same all-closed Sa and progressively lift fingers from hole 6 towards hole 1, the simplified pattern most beginner courses teach for the major/Shankarabharanam-equivalent scale.

3. Daily Long Note (Sa Sadhana) Routine

Before moving on to the Sarali Varisai exercises, spend time every day holding each of the seven notes as a long, steady tone. This single habit — often called sa sadhana — builds the breath control, embouchure steadiness and pitch accuracy that every later exercise depends on.

Use this simple timer to time each held note while you practice:

4. Sarali Varisai — Raga Malahari , Adi Tala

Sarali Varisai are the first swara exercises every Carnatic student learns. They are set in Raga Malahari and Adi Tala (8 beats, grouped 4 + 2 + 2). Notes: S R G M P D N Ṡ (Ṡ = Sa in the upper octave). The tonic Sa is highlighted in gold in every table below.

5. Janta Varisai — Paired Notes

Janta Varisai repeat every swara twice before moving to the next, building finger clarity and evenness. Still in Malahari , Adi Tala.

Practice slowly at first, keeping both notes of each pair perfectly equal in length and volume, then gradually increase the metronome tempo.

6. Alankaras — The Seven Talas (Sapta Talas)

Alankaras set the Sarali Varisai swara pattern to each of the seven traditional talas in turn, training the student to keep the same melodic phrase steady across very different beat cycles.

Example: Alankara in Triputa Tala (7 beats: 3 + 2 + 2)

Try clapping the 3+2+2 pattern with the metronome below — the loud "clap" click marks the first beat of each group.

7. First Geetham — "Sri Gananatha" ( Raga Malahari, Tala Rupaka)

Geethams are simple, song-like pieces sung/played entirely in one speed, without elaborate ornamentation — a gentle first step from pure swara exercises into sahitya (lyrics). "Sri Gananatha" invokes Lord Ganesha and is traditionally the very first Geetham taught. Tala: Rupaka (3 beats: 1 + 2).

Learn the swaras first without lyrics, then add the sahitya once the melody is comfortable.

8. First Varnam — "Ninnukori" ( Raga Mohanam, Tala Adi)

Varnams are more advanced practice pieces that build stamina, speed control and raga bhava (mood). "Ninnukori" in the pentatonic Raga Mohanam (S R G P D) is one of the most common first varnams taught to students.

Practice tip — the 3 speeds (kaalam): Varnams are traditionally practiced in three progressively faster speeds using the same tala cycle: first speed (each swara gets a full beat), second speed (double the notes per beat), and third speed (four times the notes per beat). Always master a stable first speed before attempting second or third speed — use the Adi Tala metronome above and simply play more notes within each click as you speed up your internal subdivision.

9. First Kriti — "Vatapi Ganapatim" ( Raga Hamsadhwani, Tala Adi)

Kritis are devotional compositions with pallavi, anupallavi and charanam sections, rich in raga bhava and often taken up for concert performance. "Vatapi Ganapatim" (composed by Muthuswami Dikshitar) in the pentatonic Raga Hamsadhwani (S R G P N) is a landmark first kriti for most students.

10. Daily Practice Checklist