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.
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.