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Krishna Aur Kans (2012)IntermediateSargam & Western

Enchanting Flute (Krishna Aur Kans) Flute Notes – Sargam & Western Notes

Master the iconic and soul-stirring "Enchanting Flute" theme from the animated film Krishna Aur Kans (composed by Shantanu Moitra and rendered by Rakesh Chaurasia). This guide provides Sargam swaras, Western note equivalents, phrase-by-phrase guidance, ornamental techniques including meend and gamak, and dedicated riyaz routines.

Published: October 2026Updated: October 2026

Quick Song Information & Flute Specifications

Essential details for playing the Enchanting Flute Krishna theme cleanly

Difficulty LevelIntermediate
Melody TypeKrishna Devotional / Movie Soundtrack
Suggested Bansuri / FluteC Natural Medium, D Natural Medium, or E Bass
Starting Note / SwaraSa (S / C)
Highest Note / SwaraTara Sa (S' / High C)
Recommended Practice Speed70 – 80 BPM
Main Practice Challenge: Graceful meend at Dhaivat, gentle kan swaras, Mandra breath control (.P), and gamak oscillations

Notation Symbols & Reading Guide

Understand how note octaves, meends, grace notes, and holding dashes are represented:

S, R, G, M, P, D, NMadhya Saptak (Middle Octave Shuddh Swaras)
.P, .D, .NMandra Saptak (Lower Octave, dot before note)
S'Tara Saptak (Higher Octave, apostrophe after note)
{N}, {D}, {R}, {G}Kan Swar (Grace note / rapid ornamental touch)
— (dash)Sustain / hold note value

Enchanting Flute Sargam Notes

Bansuri / Indian Flute

Each phrase is detailed below with musical units. Lower dots (.P, .D, .N) represent Mandra Saptak, curly braces ({N}, {D}, {R}, {G}) represent Kan swaras (grace notes), and apostrophes (S') mark Tara Saptak:

Phrase 1“Opening Meend Call”
SR
SR
SRGP
SRGP
GPD— (meend)
GPD—
Sargam line:SR | SRGP | GPD— (use meend at D)

Playing Tip: Open gently on middle Sa and Re, flow into SRGP, then execute a sweet gliding meend upward to Dhaivat (GPD—) with smooth finger sliding.

Phrase 2“Graceful Descent with Kan Swaras”
ND{N}S'N—
ND{N}S'N—
{D}P
{D}P
PMR—
PMR—
Sargam line:ND{N}S'N— | {D}P | PMR—

Playing Tip: Leap to Nishad, grace high Tara Sa with kan swar {N}, touch Dhaivat {D} into Pancham, and resolve softly through PM into held Re (R—).

Phrase 3“Mandra Saptak Deep Cadence”
SRGS.P
SRGS.P
SGR—
SGR—
S.N.DS
S.N.DS
.NS
.NS
SR{.N}S—
SR{.N}S—
Sargam line:SRGS.P | SGR— | S.N.DS | .NS | SR{.N}S—

Playing Tip: Drop deep into Mandra Pancham (.P) with warm, relaxed breath. Weave through lower Ni and Dha (.N, .D) and resolve gracefully on middle Sa (SR{.N}S—).

Phrase 4“Gamak Wave Descent”
S'ND—
S'ND—
NP{R}G— (gamak)
NP{R}G—
Sargam line:S'ND— | NP{R}G— (use gamak)

Playing Tip: Attack high Tara Sa cleanly, step down through Ni to Dha (S'ND—), then apply resonant gamak breath oscillations touching {R} to land on Gandhar (G—).

Phrase 5“Extended Gandhar to Madhyam”
S'ND—
S'ND—
NP{R}GPG——
NP{R}GPG——
M
M
Sargam line:S'ND— | NP{R}GPG—— | M

Playing Tip: Reiterate the Tara Sa descent, oscillate warmly on GPG—— with full breath support, and touch Shuddh Madhyam (M) on release.

Phrase 6“Ascending Climax Run”
RGM—
RGM—
RGM—
RGM—
RGMDNS'N—
RGMDNS'N—
DPR{G}RS
DPR{G}RS
Sargam line:RGM— | RGM— | RGMDNS'N— | DPR{G}RS

Playing Tip: Play two rising pulses on RGM—, then sprint across the scale RGMDNS'N— peaking at high Tara Sa before cascading gracefully down DPR{G}RS to resolve on Sa.

Phrase 7“Opening Meend Call (Reprise)”
SR
SR
SRGP
SRGP
GPD— (meend)
GPD—
Sargam line:SR | SRGP | GPD— (use meend at D)

Playing Tip: Return to the enchanting first theme with smooth sliding meend up to Dhaivat.

Phrase 8“Graceful Descent with Kan Swaras (Reprise)”
ND{N}S'N—
ND{N}S'N—
{D}P
{D}P
PMR—
PMR—
Sargam line:ND{N}S'N— | {D}P | PMR—

Playing Tip: Re-create the delicate ornamental touches on {N} and {D}, easing gently into Re (R—).

Phrase 9“Mandra Saptak Final Cadence (Reprise)”
SRGS.P
SRGS.P
SGR—
SGR—
S.N.DS
S.N.DS
.NS
.NS
SR{.N}S—
SR{.N}S—
Sargam line:SRGS.P | SGR— | S.N.DS | .NS | SR{.N}S—

Playing Tip: Conclude the piece peacefully with the warm lower octave descent (.P, .D, .N) and final sustained resolution on middle Sa (S—).

Continuous Sargam Sheet for Quick Practice

// Enchanting Flute (Krishna Aur Kans) - Sargam Notation

SR SRGP GPD— (use meend at D)// Opening Meend Call
ND{N}S'N— {D}P PMR—// Graceful Descent with Kan Swaras
SRGS.P SGR— S.N.DS .NS SR{.N}S—// Mandra Saptak Deep Cadence
S'ND— NP{R}G— (use gamak)// Gamak Wave Descent
S'ND— NP{R}GPG—— M// Extended Gandhar to Madhyam
RGM— RGM— RGMDNS'N— DPR{G}RS// Ascending Climax Run
SR SRGP GPD— (use meend at D)// Opening Meend Call (Reprise)
ND{N}S'N— {D}P PMR—// Graceful Descent with Kan Swaras (Reprise)
SRGS.P SGR— S.N.DS .NS SR{.N}S—// Mandra Saptak Final Cadence (Reprise)

Western Notes (Relative Key / Sa = C Pitch)

Western Flute & Piano (C Root)

Notation Reference: Western notes are written with Sa = C for standard reference. You can transpose the melody to match your own flute's natural key (e.g. C Medium, D Medium, E Bass).

Pitch mapping: Sa = C, Re = D, Ga = E, Ma = F, Pa = G, Dha = A, Ni = B. Lower octave notes are preceded by a dot (.G, .A, .B), higher octave notes are marked with an apostrophe (C').

Phrase 1“Opening Meend Call”
SR
CD
SRGP
CDEG
GPD— (meend)
EGA—
Western line:CD | CDEG | EGA— (use meend at A)
Phrase 2“Graceful Descent with Kan Swaras”
ND{N}S'N—
AB(B)C'B—
{D}P
(A)G
PMR—
GFD—
Western line:AB(B)C'B— | (A)G | GFD—
Phrase 3“Mandra Saptak Deep Cadence”
SRGS.P
CDEC.G
SGR—
CED—
S.N.DS
C.B.AC
.NS
.BC
SR{.N}S—
CD(.B)C—
Western line:CDEC.G | CED— | C.B.AC | .BC | CD(.B)C—
Phrase 4“Gamak Wave Descent”
S'ND—
C'BA—
NP{R}G— (gamak)
GB(D)E—
Western line:C'BA— | GB(D)E— (use gamak)
Phrase 5“Extended Gandhar to Madhyam”
S'ND—
C'BA—
NP{R}GPG——
GB(D)EGE——
M
F
Western line:C'BA— | GB(D)EGE—— | F
Phrase 6“Ascending Climax Run”
RGM—
DEF—
RGM—
DEF—
RGMDNS'N—
DEFABC'B—
DPR{G}RS
AGD(E)DC
Western line:DEF— | DEF— | DEFABC'B— | AGD(E)DC
Phrase 7“Opening Meend Call (Reprise)”
SR
CD
SRGP
CDEG
GPD— (meend)
EGA—
Western line:CD | CDEG | EGA— (use meend at A)
Phrase 8“Graceful Descent with Kan Swaras (Reprise)”
ND{N}S'N—
AB(B)C'B—
{D}P
(A)G
PMR—
GFD—
Western line:AB(B)C'B— | (A)G | GFD—
Phrase 9“Mandra Saptak Final Cadence (Reprise)”
SRGS.P
CDEC.G
SGR—
CED—
S.N.DS
C.B.AC
.NS
.BC
SR{.N}S—
CD(.B)C—
Western line:CDEC.G | CED— | C.B.AC | .BC | CD(.B)C—

Continuous Western Notes Sheet

// Enchanting Flute (Krishna Aur Kans) - Western Notation

CD CDEG EGA— (use meend at A)// Opening Meend Call
AB(B)C'B— (A)G GFD—// Graceful Descent with Kan Swaras
CDEC.G CED— C.B.AC .BC CD(.B)C—// Mandra Saptak Deep Cadence
C'BA— GB(D)E— (use gamak)// Gamak Wave Descent
C'BA— GB(D)EGE—— F// Extended Gandhar to Madhyam
DEF— DEF— DEFABC'B— AGD(E)DC// Ascending Climax Run
CD CDEG EGA— (use meend at A)// Opening Meend Call (Reprise)
AB(B)C'B— (A)G GFD—// Graceful Descent with Kan Swaras (Reprise)
CDEC.G CED— C.B.AC .BC CD(.B)C—// Mandra Saptak Final Cadence (Reprise)

Step-by-Step Practice Routine

1

Begin by mastering the foundational notes in the middle octave (S R G M P D N) with clean tone clarity before adding ornaments.

2

Practice the opening meend on GPD— by slowly sliding your left ring finger over the Dhaivat hole, avoiding abrupt finger lifting.

3

Drill the Mandra Saptak transition in Line 3 (.P .D .N) by dropping airspeed velocity and angling your breath slightly lower into the embouchure hole.

4

Isolate the gamak oscillation in Line 4 (NP{R}G—) with rhythmic breath pulses and subtle finger flutter on the Gandhar hole.

5

Practice the ascending run in Line 6 (RGMDNS'N—) slowly with a metronome at 60 BPM, gradually building up to performance speed (75-80 BPM).

6

Practice against a continuous Tanpura drone tuned to your root pitch (Sa) to keep the delicate kan swaras in perfect pitch.

Common Mistakes to Avoid

•Jumping abruptly from Pancham to Dhaivat in Line 1 instead of executing a smooth, continuous meend glide
•Overblowing the lower Mandra notes (.P, .D, .N) in Line 3, causing them to crack into the middle octave
•Rushing through the kan swaras ({N}, {D}, {R}, {G}) so fast that they sound unintentional or out of pitch
•Playing the gamak phrase in Line 4 flat without expressive breath pulsations and ornament warmth
•Losing breath control during the rapid ascent in Line 6 (RGMDNS'N—) causing the high Tara Sa (S') to sound thin or shrill

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About the Author

Written and practice-tested by Aplut, a self-taught bansuri learner practising since 2022. Content is built on direct practice experience and careful research into classical traditions. Because musical lineages and fingering conventions vary, suggestions and corrections are always welcomed via our contact page or at [email protected]. First-hand instrument experience is identified clearly whenever gear is reviewed.