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Coming to the advantages of performing Carnatic music on the flute, the list can only be numbered to a certain degree. As mentioned previously the challenges to playing Carnatic music on this instrument is a significant challenge, given the necessity to emulate the vocal form of the art form. In the subsequent sections, all of which self- explanatory will discuss the advantages of playing the Carnatic music on the flute.
Swara Nyana
To translate in English, it is the ability of a musician to grasp a musical note subconsciously upon hearing it directly (as a note) or indirectly (in a song). Till date, a musician's calibre is measured by the ability to grasp a sequence of a musical notes that may range from complicated to simple sequences based on his experience. There are some musicians who are held with high regard in this ability, the foremost of them till date is G. N. Balasubramaniam who has the ability to identity notes even from a normal conversation between people. Other prominent musicians include Dr. M. Balamuralikrishna, T. Brinda, Semmangudi Srinivasa Iyer & M. S. Subbulakshmi.
In the context of Carnatic flute, it is highly advantageous for a budding student of music to even listen to a flute music class. Unlike other stringed instruments which require periodic tuning, flutes do not require that, at least periodically. The positioning of the note is fixed at the time of manufacture & playing the note again & again instills swara nyana to the flute student pretty fast. Though some may disagree, it is a proven fact that many of the greatest legendary singers were initially students of the flute:
1. Dr. M. Balamuralikrishna
2. S. P. Balasubramaniam
3. T. N. Seshagopalan
4. Chembai Vaidhyanatha Bhagavathar
Of course there are also many respected singers who have praised the benefits of classical flute playing.
Another important but advance aspect of Carnatic flute is the concept of modal shifting whereby taking a note of a raga as a tonic note & transposing the initial raga's pattern will yield another raga. In ancient times, before the advent of the vina, flautists flaunt this skill amongst each other & to win favors of royal patronage to show their mastery over others. It is important to note that a flautist has to acquire an impressive level of swara nyana to delve into this area.
As a matter of fact, many ragas were derived by this way in ancient times in South India, where the world's first classical flute was mentioned. Following which the method was believe to be employed to vocal music, but very few ancient literary references persist till the dawn of modern Carnatic music in medieval India. Nevertheless, all initial references of modal shifting of ragas began with Carnatic music in ancient times.
Compositions
The creation of compositions since time immemorial never began with vocal music for man realized that he had no initial musical reference, that includes even for Western classical music. It is only after establishing some principles of music through an instrument that the vocal form really took form. In Carnatic music, this is no exception & the flute really helped many composers to create compositions in an era before the arrival of the vina. To an experienced flautist, creating a composition is not difficult & that too being able to create a composition that suits a vocalist or another instrumentalist is not tedious.
The secret lies in avoiding the many gamakas that come with the rags while composing. Nevertheless he will continue to add them in the final stage to brig out the raga's form. To a vocalist, violinist or a vina player, this may not be the case as composing a composition with the gamaka in mind on the initial stage is unavoidable. Nevertheless a flautist may not be able to follow exactly as certain gamakas of the vina & violin do not apply or come easy on the Carnatic flute & may require different fingering (sometimes unlogical) to produce a certain gamaka. On the other hand, a composition tuned by the a flautist is easily assmilated by the rest. The part on gamaka production on the flute is very complicated & challenging & this aspect will be discussed in Music - Disadvantages.
Shruthi Sense
Shruthi or pitch is the most important aspect of Indian music & is revered as the mother of music. The fixed position of the Shadjam or the default note & the Panchamam or the fifth is an unwavering attribute of shruthi perfection in a flute. Unless blown defectively the shruthi of a flute is almost consistent throughout its lifespan & usually requires no further tuning of the first & fifth notes on the completion of the boring process from the hands of an expert flute maker.
For a student of flute or a music student listening to a flute music class, the ability of shruthi sensing is very obvious & straightforward. Over time & consistent listening they will be able to identify the pitch in which a musician is singing or performing.
Vocal Development
There is a popular belief that flautists are unable to sing among connoisseurs because of the tremendous strain the vocal chords are exerted to when playing the flute, often making a flautist speechless after a two to three hour recital. But there is no scientific basis to support this perception or at least a practical proof of certain weight to assert this theory.
On the contrary, classical singers like Chembai & playback singer S. P. Balasubramaniam who started off as flautists eventually emerged as some of the most respectable singers in the world of Indian music. The current número uno of Carantic flute, Dr. N. Ramani also once gave a full fledged vocal concert.
It may now seem sensible why Semmangudi Srinivasa Iyer once said why young boys of music should learn a musical instrument until their voice breaks in their teens to become a professional singer while imbibing the nuances of the music in the meantime. That's actually true for how great musicians like S. P. Balasubramaniam & Chembai evolved to be singing legends. For boys seeing professional singing, this advice from the grandsire of Carnatic music is good for consideration.
For girls, they are actually at a better advantage to start learning vocal music from an early age since they don't undergo a voice break like boys, but again imbibing the music from an instrument & especially from a universal instrument like the flute is a fulfilling & worthy experience.
Stamina
In terms of exertion of the human voice, the singer & the flautist exert in near parallel weight. The overall stamina of the flautist is still a step higher than a singer. Precise blowing control, internalization of the rhythmic patterns & spontaneous improvisation takes a great deal of physical & mental energy to work hand in hand. Singers can practically keep time with their hands without difficulty, but for instrumentalists, they have to find other means to do that. For flautists, exercising the right blowing technique also adds to the exertion level.
Blowing a certain note or a phrase defectively is very obvious. As such even professional flautists, when out of breath often pause for a few seconds before resuming to avoid this. This is also true for professional Nadeswaram artistes who take sometimes pauses of up to a minute after continuous blowing. In terms of any measure, their stamina is unmatched to any musician in Indian classical music.
So one may ask what is the advantage for flautists who want to become singers. Looking at the singing stamina of just S.P.B. & Dr. M. Balamuralikrishna answers the last part of this topic.
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