Introduction
Taking regular private lessons with a qualified music teacher is one of the best ways to rapidly gain musical skill. Bansuri Bliss Founder Dr. Kerry Kriger has been taking private lessons with various musical masters since 1996, and teaching private bansuri lessons (regularly) since 2013. The goal of this page is to provide potential students with an additional way to determine what they could expect from private lessons with Dr. Kriger, if they chose to go down that route to achieving musical enlightenment and significant quantities of that sweet Bansuri Bliss.
“If you want to improve rapidly, take private lessons with a qualified teacher. It’s the same in music as with any other endeavor of importance to you.”
– Dr. Kerry Kriger
Learn about private bansuri lessons with Dr. Kriger.
Learn about other Bansuri Bliss Instructors here.
Kirwani Jhaptal Exercises, July 29th, 2025 (Kassandre M., Thailand)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger teaches Kassandre jhaptal exercises in Kirwani, at two notes per beat.
Warm-up exercises @ 0:00
Kassandre and Kerry begin with warm-up exercises, practicing different rhythmic patterns and variations on the Kirwani scale. They focus on techniques like accenting the first beat of each group and playing the scale up and down without breaks..
Exploring rhythmic variations @ 20:33
Kerry introduces the concept of “tihais” – phrases repeated three times – as a way to transition between improvisation and the main composition. They experiment with shifting the placement of the pause within the rhythmic cycle and discuss how this affects the overall phrasing.
Reviewing and refining the exercises @ 34:20
Kassandre and Kerry systematically review the series of rhythmic exercises they had been working on, with Kerry providing feedback and suggestions to help Kassandre refine his technique and phrasing. They focus on maintaining a continuous sound, avoiding unnecessary breaths, and ensuring accurate execution of the Komal (flat) notes.
Closing and next steps @ 1:26:25
Kerry encourages Kassandre to continue practicing and exploring the material they covered, noting that he has “unfulfilled potential” that could be further developed through ongoing study and consistent classes.
Kassandre plays Kirwani.
Bhoopali Teental Composition, July 22nd, 2025 (Rohin M., Chicago)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger teaches Rohin a Bhoopali composition and ways to improvise in teental.
Reviewing and practicing composition @ 0:00
Kerry and Rohin review and practice playing a Bhoopali teental composition, focusing on techniques like ornamentation, rhythm, and transitioning between sections. They discuss the importance of thoroughly memorizing the gat (opening line), as it serves as a foundation for improvisation.
Improvisation techniques @ 24:11
Kerry explains the process of improvising within the structure of the raga, including starting improvised phrases on different notes, using rhythmic patterns like 8-beat taans, and transitioning back to the main composition. He emphasizes the importance of understanding the rules and structure of the raga to guide the improvisation.
Practicing and applying new skills @ 46:05
Rohin and Kerry take turns improvising short phrases, with Kerry providing feedback and guidance. They discuss ways to practice and apply the techniques, such as writing out improvised phrases and experimenting with different rhythmic structures.
Next steps and wrap-up @ 56:51
As the lesson nears its end, they discuss the typical duration of a raga performance and the role of the introductory alap section. Kerry encourages Rohin to continue practicing the techniques they covered and to set up another lesson to further develop his skills.
Rohin plays Bhoopali
Bhoopali Scale Exercise With Jhala Variations, June 26th, 2025 (Rohin M., Chicago)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger teaches new student Rohin the fundamentals of tonguing and an important line of Bhoopali on which to improvise.
Tuning and pitch adjustment
Rohin and Kerry discussed using a tuning app to adjust the pitch of Rohin’s flute, but encountered issues with the app’s limited range. They explored different options for fine-tuning the pitch and agreed that a higher-quality app would be preferable.
Practicing scales and exercises
Kerry guided Rohin through a series of scale and exercise patterns, focusing on proper technique for playing two of the same notes in a row without blurring the sound. They practiced ascending and descending scales, as well as rhythmic patterns set to a metronome.
Introduction to Bhoopali raga
Kerry provided an overview of the Bhoopali raga, explaining its pentatonic scale structure and the importance of the Ga note. They discussed the typical format of North Indian classical music performances, including the use of improvisation over short, memorized compositions.
Practicing Bhoopali composition
Rohin and Kerry worked through several Bhoopali exercises, exploring techniques for playing notes clearly and maintaining the rhythmic structure. They discussed the role of tonguing and finger techniques in separating notes, as well as the importance of establishing the beat for the listener.
Bilawal and Kalyan Scales, June 19th, 2025 (Rohin M., Chicago)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger teaches new student Rohin the basics of bansuri.
Introductions and background
Rohin and Kerry introduce themselves and discuss Rohin’s background in playing the flute and interest in Indian classical music. Rohin mentions he has some experience with the bansuri flute but has played primarily the silver flute.
Tuning and fundamentals
Kerry guides Rohin through the process of determining the pitch of his bansuri, choosing and using a drone app, and the importance of matching Sa with the tanpura. They then discuss the notes and scales of Indian classical music, including the major (Bilawal) scale and the Kalyan scale with a sharp fourth.
Rhythmic practice
Kerry introduces the fundamental Indian rhythmic cycle of Teental, with 16 beats and 4 divisions. He has Rohin practice playing the Bilawal scale along with the Teental rhythm, focusing on maintaining a steady beat and smooth transitions.
Reading notation
Kerry shares examples of how Indian classical music is notated, explaining the system of note names, rhythmic symbols, and other markings. He encourages Rohin to practice reading and understanding this notation to support his musical development.
Advice and next steps
Kerry provides recommendations for Rohin’s continued learning, suggesting regular private lessons as well as participation in Kerry’s group classes and access to his online lesson materials. He emphasizes the importance of consistent practice and mastering the fundamentals.
Rohin plays Bilawal
Amrit Varshni, May 10th, 2025 (Elvis T., New South Wales, Australia)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger teaches Elvis raag Amrit Varshni.
Key Takeaways
– Student’s tone quality is good, but more consistent practice is needed
– Introduced Raga Amrit Varshni: pentatonic scale (Sa Ga Ma Pa Ni Sa)
– Emphasized proper finger technique, especially for Ma-Ga transitions
– Discussed importance of 7th hole technique and alternative methods
Topics
– Current Practice Habits
– Student plays “sometimes”, but not as frequently as before
– Instructor emphasized daily practice and more frequent lessons
– Recommendation to always practice with tanpura for proper pitch reference
Tuning and Pitch Accuracy
– Discovered student’s “C” flute was actually at C +45 cents
– Emphasized importance of accurate tuning and not trusting labeled pitches
– Demonstrated how to use a tuner app to find precise pitch (C+45 cents)
Raga Amrit Varshni Introduction
– Pentatonic raga, Ascending Scale: Sa Ga Ma Pa Ni Sa (no Re or Da)
– Descending scale: Sa Ni Pa Ma Ga Sa
– Ma is Teevra
– Practiced various patterns and ornamentations within the raga
Finger Technique Improvement
– Identified issue with “rolling” finger for Ma-Ga transition
– Corrected technique: fingers should lift off flute, not slide
– Emphasized keeping top (Ga) finger up for Pa to improve high note transitions
Seventh Hole Technique
– Discussed importance of 7th hole for extended range and easier ornamentation
– Demonstrated alternative method for smaller flutes without 7th hole
– Encouraged daily practice to strengthen pinky finger and master technique
Next Steps
– Increase daily practice frequency, always using tambura
– Focus on correcting Ma-Ga finger transition technique
– Practice Raga Amrit Varshni patterns and scales
– Consider joining Bansuri Bliss for access to additional online lessons
– Schedule next lesson or explore group class options on weekends
Elvis plays Amrit Varshni
Bhoopali – Alankars, April 1st, 2025 (Brad H., United Kingdom)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger teaches Brad scale exercises in Bhoopali, and the basics of writing Indian classical music.
Brad’s musical background and interest in bansuri
Brad shares that he is new to music, but was inspired to take up the bansuri flute after listening to Indian classical music. Kerry provides encouragement and advice for Brad to persevere with regular practice, even though he is still a beginner.
Establishing Brad’s bansuri pitch and playing technique
Kerry and Brad determine that Brad plays Sa on his bansuri at C (-24 cents). Kerry provides detailed feedback on Brad’s finger positioning and breathing technique, emphasizing the importance of keeping the middle finger firmly on the holes.
Practicing fundamental bansuri exercises
Kerry guides Brad through a series of scale and rhythm exercises, starting with simple patterns and gradually increasing in complexity. He encourages Brad to practice these exercises regularly to build up his skills.
Notation and music theory overview
Kerry provides an in-depth explanation of the notation system used for bansuri music, covering topics like time signatures, flats and sharps, and articulation. He emphasizes the importance of keeping a dedicated music notebook to organize and document Brad’s learning progress.
Recommendations for continued learning
As the session wraps up, Kerry strongly recommends that Brad consider taking private lessons when possible, in addition to the group classes. He explains the benefits of one-on-one instruction, and provides suggestions for finding affordable options.
Brad prepares to play Bhoopali.
Durga – Alap, Jor, Jhala and a Madhyalaya Jhaptal Gat, March 31th, 2025 (Kassandre M., Bangkok, Thailand)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger teaches Kassandre raag Durga.
Discussing musical scales and techniques
Kerry teaches Kassandre the Durga scale, and they play slow alap, focused on proper ornamentation. They then explore different rhythmic patterns in jor and jhala.
Learning a madhyalaya jhaptal composition
Kerry introduces a madhyalaya composition and they work on practicing the ten beat rhythmic structure, focusing on the final three beats which are particularly challenging. They discuss strategies for mastering the rhythm, such as isolating and repeating the difficult sections.
Kassandre plays raag Durga on his D bansuri.
Brindavani Sarang Alap, January 31th, 2025 (William S., Costa Rica)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger teaches William alap in the early afternoon raga Brindavani Sarang.
Flute practice and progress @ 0:00
William discusses his flute practice routine, noting he tries to play at least 30 minutes to an hour per day, sometimes more. He has 10 to 12 ragas that he practices regularly, but sometimes forgets the details if he doesn’t revisit them frequently. Kerry encourages William to continue his daily practice and to review his notes and recordings when he can’t be actively playing.
Navigating the vast ocean of Indian music @ 14:31
Kerry explains that the world of Indian classical music is like a vast ocean, with many different ragas that William is just beginning to explore. He advises William not to worry about understanding everything right away, as even after 25 years of study, Kerry is still learning new ragas and revisiting familiar ones. The key is consistent practice and an openness to the unfamiliar.
Opportunities for live performance @ 17:54
Kerry suggests that William could look for opportunities to play his flute in public, such as at yoga classes or open mic nights in Costa Rica. He encourages William to connect with local musicians, perhaps finding a drummer to collaborate with, in order to gain experience playing with others and sharing his music live.
Developing fluency in specific ragas @ 23:19
The lesson focuses on the Brindavani Sarang raga, with Kerry providing detailed guidance on the proper way to play the phrases, emphasizing the importance of using the correct Ni (shuddh in ascent and koala in descent). Kerry encourages William to keep practicing the core patterns until he develops fluency.
Recap and next steps @ 1:14:52
As the lesson concludes, Kerry reiterates the importance of William’s daily practice, encouraging him to devote more time to the ragas he’s working on. He also suggests that William continue taking private lessons when possible, and to make the most of any group classes he can attend, even if he feels behind. The overall message is one of steady, consistent progress through dedicated practice.
William plays Brindavani Sarang
Bhoopali Alap, January 29th, 2025 (Mark B., Japan)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger teaches Mark alap in Bhoopali. This was Mark’s first bansuri lesson.
Challenges of learning the bansuri @ 5:00
Mark discussed his experience of buying a bansuri flute about 3 years ago, but initially struggling to learn it due to lack of clear explanations online. He was confused about techniques like finger positioning and transitions between notes. Mark recently became a member of Kerry’s online lessons and is now working through the beginner content to improve his fundamentals.
Practicing the bansuri and getting feedback @ 10:00
Kerry and Mark spent time playing the bansuri together, with Kerry providing feedback on Mark’s tone, breath control, and technique. They focused on practicing the transition between the Ga and Pa notes in the Bhoopali scale. Kerry encouraged Mark to practice regularly, even if just for a short time each day, to build up his muscle memory and dexterity.
Scheduling and next steps @ 30:00
Given the significant time difference between Japan and Kerry’s location, they discussed options for Mark to continue receiving lessons, such as recording himself and posting in the Discord server, or potentially scheduling private 1-on-1 lessons at more convenient times. Kerry was optimistic about Mark’s potential as a student and encouraged him to keep practicing consistently.
“I had a fun and educational lesson thank you very much, it was really fun playing the scales and hearing the sounds, with instant feedback. I look forward to seeing how far I can go with bansuri! ” – Mark B., Japan
Bhimpalasi Scale And Alap, January 23rd, 2025 (Ingrid D., Hawaii)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger teaches Ingrid the scale of Bhimpalasi, and some alap.
Reviewing Bhimpalasi scale and notes @ 6:00
Kerry walked Ingrid through reviewing the Bhimpalasi scale and note names, using visual aids to help her connect the note names to the finger positions on the instrument. They practiced playing the scale up and down, with Kerry providing feedback to help Ingrid improve her technique and accuracy.
Practicing Bhimpalasi scale variations @ 31:52
Kerry and Ingrid worked on playing different variations of the Bhimpalasi scale, including leaving out certain notes and playing rhythmic patterns. Kerry provided guidance on maintaining the proper 8-beat structure and controlling the volume and tone, especially on the higher notes.
Improvising and playing together @ 43:30
Towards the end, Kerry and Ingrid engaged in some free improvisation, with Kerry playing phrases for Ingrid to echo and build upon. They explored different melodic motifs within the Bhimpalasi mode, with Kerry offering feedback to help Ingrid play more confidently and expressively.
Scheduling next lesson @ 59:00
They agreed to continue their lessons on Sundays at 5pm, with the next session scheduled for the following Sunday. Kerry encouraged Ingrid to practice regularly in the meantime to build on the progress made in this lesson.
Ingrid plays raag Bhimpalasi.
Janasamohini Rupak Composition, January 15th, 2025 (Suraj Sonar, Yadgir, Karnataka, India)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger teaches long-time student Suraj Sonar a madhyalaya (middle speed) composition in the evening raga Janasamohini.
The session began with warm-ups and a review of foundational phrases, emphasizing proper intonation and avoiding tongue articulation. Dr. Kriger introduced the gat in rupak taal (7-beat rhythmic cycle), guiding Suraj through the melodic structure and rhythmic nuances. The lesson highlighted simplifying complex sections of the composition to make it more approachable while ensuring the integrity of the raga. Dr. Kriger provided insights on balancing ornamentation and rhythmic precision, encouraging practice of key phrases such as “Ga-Pa-Da-Ni-Sa” and “Ni-Re-Sa.” The session also explored improvisation, encouraging variations to deepen Suraj’s understanding of the composition’s structure. Dr. Kriger emphasized the importance of consistent practice, particularly with tabla accompaniment, to internalize the rhythm and melody. This lesson offered an engaging deep dive into Janasamohini, fostering technical mastery and creative exploration of the madhyalaya rupak composition.
Bansuri Bliss Member, Instructor, Scholarship Recipient and Instructor Suraj Sonar.
Bhimpalasi Teental Composition, January 6th, 2025 (Kassandre Maharajh, Bangkok, Thailand)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger worked with Kassandre Maharajh to refine his skills on the bansuri, focusing on tonal clarity, rhythmic precision, and ornamentation. The session began with a warm welcome and a discussion about Kassandre’s transition to living in Thailand, where he now works as a DJ. They revisited foundational exercises and compositions in the afternoon raag Bhimpalasi, emphasizing correct intonation and smooth transitions between notes, such as “Ma-Pa-Ma-Ga-Ma.” Dr. Kriger guided Kassandre in playing with and without ornamentation, improving his technique for creating “Komal Ga” and “Komal Ni,” and developing fluency in improvising in alap.
To enhance rhythmic accuracy, they practiced with a tabla app, gradually increasing tempo to challenge his ability to maintain precision at higher speeds. Dr. Kriger encouraged Kassandre to focus on breathing techniques, advising him to vary his breathing points during ascending and descending scales to achieve a natural flow. The lesson also included tips on managing the physical challenges of playing a large D flute, highlighting proper hand positioning and consistent practice to build endurance.
Dr. Kriger encouraged Kassandre to practice with tabla accompaniment regularly, experiment with tempos, and incorporate gamaks and tonguing techniques into his improvisation. They discussed the importance of regular lessons and practice, with Dr. Kriger noted his quick progress despite limited sessions over the years. The lesson concluded with a discussion about future opportunities for lessons in Bangkok and the importance of maintaining his bansuri skills alongside his busy schedule as a DJ.
Kassandre plays raag Bhimpalasi in Bangkok, Thailand.
Maru Bihag, December 20th, 2024 (John Feaster, Northern Virginia)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger teaches long-time student John Feaster a raga that is new to them both.
Exploring Maru Bihag and related ragas @ 2:59
John and Kerry dive into analyzing the raga Maru Bihag, including its scale, ornamentation, and comparison to related ragas like Bihag and Hem Bihag. They discuss the characteristics of each raga and how they differ in terms of the use of Shuddha Ma versus Teevra Ma.
Rhythmic analysis and composition @ 6:05
John and Kerry examine the rhythmic structures of the notated examples of the ragas, written by Pandit Vijay Raghav Rao and his student Arun Bagal. They discuss the complexity and challenges in deciphering the music as written, then Dr. Kriger writes out the music so that it is legible – and thus more useful as a practice tool. They discuss the value of composing music in these ragas as a way to deepen their musical understanding.
Ongoing learning and next steps @ 1:18:22
John expresses his desire to focus more on composition and writing music using the ragas they have covered, rather than solely drilling the fundamentals. He proposes working on a piece based on a raga they have already studied, to build on their existing knowledge.
John Feaster plays bansuri during a lesson on February 15th, 2021. He has improved because he has stuck with it!
Yaman Alap, December 12th, 2024 (Kristine M., New York City)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger gives Kristine her second ever bansuri lesson.
Flute setup and sound quality @ 0:00
Kerry and Kristine determined the precise pitch of Kristine’s new flute (A -8 cents), the need for a better microphone or headset to improve the audio quality, and tips for getting a smoother sound when playing (i.e. better meend).
Practicing scales and exercises @ 4:00
Kristine shared that she has been practicing scales and exercises daily to improve her breath control and finger dexterity. Kerry provided feedback on her technique.
Learning the Yaman raga @ 19:39
Kerry introduced the Yaman raga, one of the most popular ragas in Indian classical music. He explained the key notes and melodic patterns of the raga, and they worked through writing out phrases of alap with ornamentation.
Developing flute technique @ 29:42
Throughout the lesson, Kerry provided detailed guidance on flute technique, including proper finger positioning, using ornamentation and slides between notes, and developing breath control and phrasing. Kristine practiced applying these techniques to the Yaman raga.
New bansuri student Kristine plays alap in raag Yaman.
First Bansuri Lesson, November 11th, 2024 (Kristine M., New York City)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger gives Kristine her first ever bansuri lesson.
Assessing the bansuri and its tuning @ 0:00
Kristine mentions she recently acquired a mini bansuri flute from a friend who bought it in India, and is interested in learning how to play it properly. Kerry tests the pitch and tuning of Kristine’s bansuri flute, determining it is in the key of C-sharp minus 34 cents. He notes the flute is not well-tuned, which will make it challenging to play. They discuss the differences between playing a silver flute and a bansuri.
Bansuri playing technique @ 10:00
Kerry provides detailed instruction on proper bansuri playing technique, including breath control, finger positioning, and playing a basic scale. He emphasizes the importance of fully closing the finger holes and maintaining a continuous airflow.
Recommendations for acquiring a quality bansuri @ 42:37
Kerry advises Kristine on where to purchase a well-made, properly tuned bansuri, recommending she start with an affordable “A” flute from a maker like Anubodh. He also suggests she sign up for his online bansuri lessons and practice regularly to improve her skills.
New bansuri student Kristine plays a melody.
Bansuri Lesson, October 30th, 2024 (John Feaster, Northern Virginia)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger teaches his student John Feaster, who has been learning for several years.
Renewed commitment to bansuri practice @ 3:14
John shares that he has stopped teaching math and writing poetry in order to focus more intently on his bansuri flute practice. He plans to spend 3-4 hours per day consistently working on the instrument, including reviewing Kerry’s lecture videos in detail and drilling fundamental techniques like getting his notes “flat enough”.
Appreciation for raga spirit vs. just technique @ 4:00
John expresses a desire to not just master the technical aspects of playing, but to truly understand and embody the spirit and essence of the ragas. He wants to be able to convey the “rasa” or emotional quality when he plays, not just execute the notes correctly. He reflects on how his own progress has been slower than expected. He acknowledges the importance of consistent practice and drilling fundamentals, even for experienced musicians.
Plans for more structured practice and engagement @ 7:19
Going forward, John plans to have more regular private sessions with Kerry. He also expresses interest in providing technical support to other students and potentially contributing written content to the Bansuri Bliss website.
Recap and next steps @ 45:00
John and Kerry summarize the key discussion points, with John reiterating his commitment to focused, consistent practice to improve his technical skills and deepen his understanding of ragas. They agree to reconnect in a couple weeks to continue their lessons and discussions.
John Feaster plays a bansuri melody.
Bhoopali – Simple Scale Exercise, September 25th, 2024 (Mario Marcoy, Chile)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger gives Bansuri Bliss Member Mario Marcoy his first ever private bansuri lesson.
Learning the Bhoopali scale @ 6:00
Mario has been learning flute for about two years, though without a teacher. Tried saxophone and clarinet previously. Kerry guides Mario through practicing the Bhoopali scale, focusing on proper technique, maintaining a steady rhythm, and avoiding repeated notes or tonguing when not called for. They work on playing the scale up and down at a slow, controlled pace. Kerry identified issues with Mario’s tanpura app, recommending adjustments.
Accessing online learning resources @ 30:20
Kerry recommends that Mario utilize the online lessons and sheet music available on the Bansuri Bliss website to continue practicing the Bhoopali scale and other concepts. He encourages Mario to attend the Saturday and Sunday Bansuri Bliss Members Lessons as much as possible to further his progress.
Action Items
– Practice lifting top finger when playing “Pa” note.
– Practice Bhoopali simple scale exercise (SRGP|DSRG|RSDP|GRS_). Maintain correct sequence, no tonguing, no repeated notes
– Select & practice one lesson from website thoroughly before moving to next – focus on mastery of individual concepts.
Mario Marcoy plays Bhoopali on bansuri.
Durga Jhaptal Exercises, September 16th, 2024 (Chas Newkey-Burden, Windsor, UK)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger teaches Bansuri Bliss Member Chas Newkey-Burden to play rag Durga in jhaptal, a 10-beat rhythmic cycle, September 16
Flute practice and progress @ 0:00
Chas discusses his recent flute lessons and challenges. Kerry encourages Chas to practice daily and take regular lessons to improve his flute skills, noting that Chas has the potential to become an exceptional player if he commits to regular practice.
Rhythmic concepts in Indian classical music @ 6:00
Kerry and Chas explore fundamental rhythmic concepts in Indian classical music, focusing on the importance of the 2+3 and 4+6 rhythmic structures in the jhaptal. They practice playing these rhythms, discussing techniques like tonguing and gamak, and work on internalizing the rhythmic patterns.
Composing and writing music @ 22:21
Kerry encourages Chas to start composing his own music and writing it down, noting that the process of putting pen to paper and structuring musical ideas is valuable practice. They discuss the benefits of being able to read and write musical notation, and Kerry provides Chas with some rhythmic patterns to practice playing and writing out.
Flute community and engagement @ 1:14:39
Chas shares his experiences with a local flute group in London. They discuss the challenges of building a vibrant flute community and the differences between being a skilled player and an effective teacher.
Wrap-up and next steps @ 1:22:37
Kerry and Chas agree to schedule another lesson in a couple weeks, and Kerry encourages Chas to practice the rhythmic patterns they covered and to start writing out musical ideas on his own. They end the meeting on a positive note, with Kerry expressing confidence in Chas’s potential as a flute player.
Chas playing raag Durga. Chas says “Thanks for the class – I really enjoyed it!”
Gorakh Kalyan Teental Composition, September 11th, 2024 (Krushna Bhatt, New Delhi, India
In this Bansuri Bliss private lesson, Dr. Kerry Kriger teaches Bansuri Bliss Member Krushna Bhatt a teental composition in raag Gorakh Kalyan.
Practicing ornamentations and smooth playing @ 2:00
Kerry and Krushna worked on practicing ornamentations and playing flute passages smoothly, without breaks between notes. They discussed techniques like using the tongue, breathing at appropriate moments, and shortening the duration of ornamental notes to maintain a continuous flow.
Exploring different versions of the Gorakh Kalyan scale @ 17:06
Kerry explained that there are different ways to play the Gorakh Kalyan scale, with some people playing it as Sa Re Ma Da Ni Sa, while others play it as Sa Re Ma Da Sa, omitting the Komal Ni on ascent (but playing Ni Dha Sa and Sa Ni Dha Ma Re Sa). They discussed the merits of each approach and Kerry shared that he prefers playing it as Sa Re Ma Da Ni Sa.
Practicing a specific composition @ 19:00
Kerry introduced a composition he had written and performed, explaining its structure of starting 5 beats before the sum. They worked through practicing this composition, focusing on maintaining the rhythm, breathing at appropriate moments, and playing the ornamental notes smoothly.
Exploring scale patterns and alankars @ 47:10
To help develop Krushna’s technique, Kerry suggested practicing various scale patterns and alankars (melodic patterns) at a fast tempo. They worked through examples, discussing how this type of practice can build the dexterity and control needed for more complex passages. Kerry suggested Krushna review the Gorakh Kalyan materials on the website and try to attend more Bansuri Bliss Members Lessons to continue improving.
Krushna Bhatt playing bansuri in the highlands.
Malkauns Jhala, September 6th, 2024 (Elvis Turambar, New South Wales, Australia)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger teaches Elvis Turambar to play raag Malkauns.
Flute technique and music theory @ 1:24
Kerry provides detailed guidance on proper flute technique, including the importance of maintaining a continuous airflow without breaks. They work through exercises focused on smooth transitions between notes and maintaining consistent rhythm and tempo. They discuss the correct order of strings on the tanpura (Ma Sa Sa Sa), and the use of Ma in Malkauns.
Notation and music writing @ 22:36
Kerry introduces a structured approach to writing out the musical exercises, including the use of plus signs, vertical bars, and circle symbols to denote the rhythmic structure. They collaborate to write out a series of ascending and descending melodic lines, with Kerry providing feedback on proper note placement, articulation, and pacing.
Recap and next steps @ 1:22:38
Kerry concludes the lesson by having Elvis write out the final exercise cleanly, emphasizing the importance of double-checking the notation to avoid mistakes. He instructs Elvis to take a photo of the written music and send it to him for review.
Kalyan Gamaks, August 5th, 2024 (Kevin R., Pennsylvania)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger and new Bansuri Bliss Member Kevin play gamaks in Kalyan scale.
Tuning the tanpura strings
Kerry provides guidance on the proper order and tuning of the tanpura strings, explaining that the middle two strings should be tuned to the Sa, which is G at 196 Hz. He emphasizes the importance of tuning the instrument correctly rather than relying on an electronic tuner. The order of strings is Low Pa, Sa, Sa, Low Sa.
Starting the raga with an ornamented note
Kerry walks Kevin through the proper technique for ornamentation (including the finger positioning and breath control) on the start of a note, using gamak. He stresses the need to focus on a smooth, continuous sound rather than choppy articulation.
Exploring lower register on the flute
Kerry teaches Kevin techniques for accessing the lower register of the flute, including rolling the wrist inward, tilting the head to the left, and adjusting the angle of the air stream to get from low Pa to low Teevra Ma.
Bilawal & Rhythm Exercises, July 31st, 2024 (Suraj Sonar, India)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger and advanced student Suraj Sonar spent the majority of the meeting practicing various rhythmic patterns and exercises for jhala. Kerry walked Suraj through different four beat structures, including T-T-T-T-, TKT-T-T-, TKTKT-T- and TKTKTKTK while playing ascending and descending scales in Bilawal; followed by more complex 8-beat patterns like T-T-T-TT|-TT-TKTK. They focused on developing Suraj’s ability to accurately play and internalize these rhythms.
Suraj Sonar with his bansuri
Shivaranjani, July 24th, 2024 (Elvis T., Australia)
Tuning and practicing the Komal Ga @ 0:00
Kerry determines the pitch of Elvis’ bansuri at Sa (three holes closed). Elvis practices Komal Ga (flat third), emphasizing the importance of ensuring it has a serious feeling. They work on long-tone exercises in raag Shivaranjani and transitions between Ga and Pa to develop control and smoothness.
Exploring the “Ga-Pa bridge” exercise @ 19:33
Kerry introduces the “Ga-Pa Bridge” exercises, which involve smoothly transitioning between the Ga and Pa notes. They practice this in multiple ways, including playing the transition continuously without breaks and adding adjacent notes such as Dha and Re. Kerry stresses the importance of consciously, continuously breathing outwards.
Using a metronome and rhythm app @ 46:08
Kerry and Elvis discuss using a metronome and a rhythm app to practice with a steady beat. They explore the app’s features and settings, and encounter some limitations with the free version.
Recap and next steps @ 1:11:20
Kerry reviews the key lessons covered in the session, noting Elvis’ rapid progress. They discuss Elvis’ goals of becoming a professional musician, and Kerry encourages him to continue practicing diligently and taking the Bansuri Bliss Academy courses.
Elvis T. playing a raga on bamboo flute, in Australia
Janasamohini, July 8th, 2024 (Suraj Sonar, India)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger guides advanced student Suraj through 12-beat taans in the evening raga Janasamohini.
Suraj Sonar playing bansuri
Practicing 12-beat taans @ 0:00
Kerry and Suraj worked on practicing 12-beat taans, experimenting with different rhythmic structures like 8+8+8 or 6+6+6+6. They discussed the importance of getting the timing and rhythm correct, and Suraj acknowledged needing more practice to improve his execution.
Flute playing technique @ 20:51
Kerry provided detailed guidance on flute playing technique, including instructions on tonguing, finger positioning, and transitioning between different note patterns. They worked through several technical exercises to help Suraj develop his skills.
Building an online presence @ 1:01:41
Kerry suggested they work together to create a web page and online profile for Suraj to help him find flute students. He asked Suraj to provide some photos of himself playing the flute, which they could use for the website. Suraj committed to practicing the techniques they covered, and Kerry indicated he would follow up on the plan to build Suraj’s online presence as a flute teacher.
The lesson video is in our Janasamohini course, available to all Bansuri Bliss Members.
Bilawal, July 8th, 2024 (Parv N., Atlanta, GA)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger guides brand new student Parv through his first ever bansuri lesson.
Right and left-handed flutes @ 3:14
Kerry and Parv examine Parv’s flute and determine it is a left-handed C flute, which requires a different hand positioning than a standard right-handed flute.
Determining the pitch of your bansuri @ 8:00
Kerry guides Parv through the process determining the pitch of the flute, and how to use a tuner to identify the flute’s pitch. They discuss the importance of taking multiple measurements to account for factors like temperature.
Practicing the basic scale @ 12:00
Kerry walks Parv through playing the first half of the Bilawal (major) scale, providing feedback on his finger positioning and technique. They also discuss the differences between Western and Indian musical scales.
Next steps and resources @ 30:22
Kerry recommends that Parv sign up for the Bansuri Bliss membership to access the Academy’s lessons and group classes. He encourages Parv to continue practicing, noting that with dedication Parv can become an accomplished bansuri player.
– Complete the “Getting Started With Bansuri” free course
– Print and study the bansuri fingering chart
– Practice regularly, focusing on pitch of notes and tone.
Recommendations
– Get a spiral-bound notebook to take notes during class
– Get a Bansuri Bliss Membership for full access to courses and weekend group lessons (Sat/Sun 11am EST)
– Continue private lessons to receive maximum feedback
Bhoopali, July 8th, 2024 (Elvis T., Australia)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger guides Elvis through the basicas of the raga Bhoopali.
Flute playing techniques @ 0:00
Elvis and Kerry discuss various flute playing techniques, including the importance of using the tongue to articulate notes (specifically the 2nd of two notes that are the same, such as Sa followed by another Sa), maintaining continuous airflow, and transitioning between different notes and registers. They work through exercises focused on playing smooth, connected phrases without breaks.
Breathing and phrasing @ 15:19
Kerry emphasizes the need to take breaths at appropriate times (such as when there is a natural break in the music), or to keep breathing outwards to maintain a continuous, unbroken musical line. They practice playing longer phrases without interrupting the airflow, and discuss strategies for incorporating breaths seamlessly.
Developing consistent tone and technique @ 19:41
Elvis struggles with producing a consistent, clear tone on the flute, sometimes resulting in squeaks or unintended sounds. Kerry provides feedback and guidance on controlling the velocity (flux) of the blow, airflow and embouchure to achieve a more stable, resonant tone.
Practicing and improving @ 1:07:46
Kerry encourages Elvis to continue practicing the flute diligently, noting that with 3-4 hours of daily practice and ongoing instruction, he can become a very skilled (professional level) player. They discuss the benefits of consistent, focused practice and the importance of seeking out qualified teachers.
Janasamohini, July 3rd, 2024 (Eric O., Austin, TX)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger guides Eric through the intricacies of the raga Janasamohini.
Practicing scale exercises @ 0:00
Kerry and Eric discussed different approaches to practicing scale exercises, including playing phrases up and down the scale at varying speeds and rhythms. They explored concepts like alankars and khanda jati to add complexity to the exercises.
Developing vocal skills @ 17:45
Kerry emphasized the importance of singing along with the instrument to develop better pitch and vocal strength. He suggested Eric consider taking lessons from an Indian vocal master to further improve his singing abilities.
Exploring rhythmic concepts @ 30:10
The discussion shifted to advanced rhythmic concepts like jhaptal, a common North Indian rhythm with a 10-beat cycle. Kerry and Eric experimented with playing melodic phrases within the jhaptal structure, exploring ways to fit different note groupings into the cycle.
Composing and practicing new exercises @ 47:26
Towards the end, Kerry and Eric collaborated to compose a new rhythmic exercise, writing out the melodic phrase and discussing strategies for practicing and improvising on it. They agreed that writing down these self-composed exercises can be helpful for retaining and further developing them.
Janasamohini, June 21st, 2024 (Eric O., Austin, TX)
In this Bansuri Bliss private lesson, Dr. Kerry Kriger guides Eric through the intricacies of the raga Janasamohini. They focus on the fundamental notes (SRGPDnS) with a particular emphasis on the use of Komal Ni. Dr. Kriger begins with a demonstration of the notes and their phrasing, encouraging Eric to replicate them while maintaining the raga’s serene and soulful nature. Throughout the lesson, they engage in detailed practice sessions, refining intonation, breath control, and expression. Dr. Kriger also introduces specific exercises to help Eric develop a better grip on the flute and improve his overall technique.
Dr. Kriger explains a bansuri fingering chart showing the half-step and whole-step intervals between musical notes. They discuss how this helps conceptualize the scale. He then guides Eric through a series of rhythmic exercises, starting with simple repeating patterns and building up to more intricate, double-time variations. They focus on precision, speed, and maintaining the underlying beat.
Additionally, the lesson covers technical aspects of using iTablaPro, a digital tabla app, to support Eric’s practice. Dr. Kriger provides guidance on setting the correct beats per minute and troubleshooting any issues with preset imports.
They discuss the importance of practicing with the tabla to maintain rhythm and tempo. Towards the end of the lesson, Dr. Kriger emphasizes the importance of consistent practice, proper finger placement, and the use of tonguing techniques (TooKooTooKoo) to achieve a smooth and accurate rendition of the raga. Eric is encouraged to continue practicing diligently to master the nuances of Janasamohini.
Eric plays raag Janasamohini on bansuri.
Kalyan Lesson: June 19th, 2024 (Elvis T., Australia)
Proper finger technique for flute playing:
Kerry teaches Kalyan and emphasizes the importance of keeping the Ga finger disconnected from the flute when playing Teevra Ma, with minimal motion. He demonstrates the proper technique of lifting the fingers up and down rather than rolling them around the flute, as this can lead to blocking the hole and dampening the pitch. He encourages Elvis to practice in front of a mirror this week to observe his hand and finger movements.
Breath control and phrasing:
Kerry advises Elvis to focus on taking deeper breaths and maintaining continuous airflow when playing, rather than taking breaths in the middle of phrases. He suggests practicing exercises where Elvis tries to play longer phrases without interrupting the breath. Kerry explains how proper breath control and phrasing can improve the overall musicality of the performance.
Seventh hole technique:
Kerry examines Elvis’s flute and discusses the challenges of the seventh hole, which is often poorly designed by flute makers. He suggests that for Elvis’s next flute, he should consider getting one from Anubodh, who designs the seventh hole with skill. Kerry provides tips on how to practice reaching and closing the seventh hole effectively.
Tuning and using a tambura:
Kerry recommends that Elvis use a tambura drone to help play in tune and with better intonation.
Elvis prepares to play a phrase on his bansuri.