Devotional & Classical MelodyIntermediateSargam & Western

Radha Krishna Flute Notes – Star Bharat Theme Tune

Master the iconic, emotive flute melody from the popular Star Bharat TV serial RadhaKrishn on your bansuri. Featuring detailed Sargam swaras and Western notes, octave indicators, grace note (kan swar) ornaments, and practical finger placement tips.

Published: 2026-09-23Updated: 2026-09-23

Quick Song Information & Flute Specifications

Essential details for practicing this iconic serial theme melody

Difficulty LevelIntermediate

Melody TypeDevotional, Classical-Inspired Melody

Suggested Bansuri / FluteD Middle (D Scale) Bansuri

Starting Note / SwaraMadhya Re (R)

Highest Note / SwaraTara Saptak Re (R')

Recommended Practice Speed65 – 75 BPM (Soulful & Meditative)

Main Practice Challenge: Komal Ga (g), Komal Ni (n), and graceful meend ornamentation

Notation Symbols & Reading Guide

Understand how note octaves, rests, half-hole komal swaras, and breath pauses are represented:

S R G M P D NShuddh (Natural) Swaras in Madhya Saptak

g, nKomal (Flat) Swaras (Half-hole on bansuri)

.P .D .NMandra Saptak (Lower octave notes)

S' R' G'Tara Saptak (Higher octave notes)

—Hold / sustain note duration

(G)MKan Swar (Grace note / quick touch)

|Musical phrase segment division

/Breath pause / phrase conclusion

Radha Krishna Sargam Notes

Bansuri / Indian Flute

Each phrase is detailed below with musical units. Lower dots (.P, .D, .N) represent Mandra Saptak, lowercase (g, n) represent Komal swaras, and apostrophes (R') mark Tara Saptak:

Phrase 1"Opening Theme Hook – Part 1"

Opening Hook

R— SR— SR

Mandra Descent

S.N.D.NS

Komal Ga Movement

g— Rg— Rg /

Sargam line:R— SR— SR | S.N.D.NS g— Rg— Rg /

Phrase 2"Opening Theme Hook – Part 2 (Lower Pa Attack)"

Lower Pa Strike

.P.PR—

Ascending Turn

SR— SR

Mandra Flow

S.N.D.NS

Komal Ga Resolution

g— Rg— Rg /

Sargam line:.P.PR— SR— SR | S.N.D.NS g— Rg— Rg /

Phrase 3"High Peak Variation 1 (Pa-Dha-Komal Ni)"

Re to Pa step

R— PP

Re to Dha step

R— DD

Re to Komal Ni leap

R nn—

Emotive Meend Descent

DPM(G)Mg /

Sargam line:R— PP | R— DD | R nn— DPM(G)Mg /

Phrase 4"High Peak Variation 2 (Tara Saptak Re Climax)"

Re to Pa

R— PP

Re to Dha

R— DD

Tara Re Climax

R(S')R'S'n—

Grand Melodic Landing

DPM(G)Mg—

Sargam line:R— PP | R— DD | R(S')R'S'n— | DPM(G)Mg—

Phrase 5"Lower Mandra Transition Bridge"

Connecting Bridge

S.D.NSR

Sargam line:S.D.NSR

Phrase 6"Concluding Theme Hook"

Sustained Hook

R— SR— SR—

Final Mandra Sweep

S.N.D.NS

Final Komal Ga Fade

g— Rg— Rg /

Sargam line:R— SR— SR— | S.N.D.NS g— Rg— Rg /

Continuous Sargam Sheet for Quick Practice

// Radha Krishna Star Bharat Flute Theme - Sargam Notation

R— SR— SR S.N.D.NS g— Rg— Rg /// Opening Theme Hook – Part 1

.P.PR— SR— SR S.N.D.NS g— Rg— Rg /// Opening Theme Hook – Part 2

R— PP R— DD R nn— DPM(G)Mg /// High Peak Variation 1

R— PP R— DD R(S')R'S' n— DPM(G)Mg—// High Peak Variation 2 (Tara Re Climax)

S.D.NSR// Transition Bridge

R— SR— SR— S.N.D.NS g— Rg— Rg /// Concluding Theme Hook

Western Notes (Relative Key / Sa = C Pitch)

Western Flute & Piano (C Root)

For Western concert flute players, keyboardists, and recorder learners, the melody transcriptions are transcribed relative to tonic C (where Sa = C, Re = D, Komal Ga = D#/Eb, Pa = G, Dha = A, Komal Ni = A#/Bb):

Phrase 1"Opening Theme Hook – Part 1"

Opening Hook

D— CD— CD

Mandra Descent

C.B.A.BC

Komal Ga Movement

D#— DD#— DD#

Western line:D— CD— CD | C.B.A.BC D#— DD#— DD# /

Phrase 2"Opening Theme Hook – Part 2 (Lower Pa Attack)"

Lower Pa Strike

.G.GD—

Ascending Turn

CD— CD

Mandra Flow

C.B.A.BC

Komal Ga Resolution

D#— DD#— DD#

Western line:.G.GD— CD— CD | C.B.A.BC D#— DD#— DD# /

Phrase 3"High Peak Variation 1 (Pa-Dha-Komal Ni)"

Re to Pa step

D— GG

Re to Dha step

D— AA

Re to Komal Ni leap

D A#A#—

Emotive Meend Descent

AGF(E)FE /

Western line:D— GG | D— AA | D A#A#— AGF(E)FE /

Phrase 4"High Peak Variation 2 (Tara Saptak Re Climax)"

Re to Pa

D— GG

Re to Dha

D— AA

Tara Re Climax

D(C')D'C'A#—

Grand Melodic Landing

AGF(E)FE—

Western line:D— GG | D— AA | D(C')D'C'A#— | AGF(E)FE—

Phrase 5"Lower Mandra Transition Bridge"

Connecting Bridge

C.A.BCD

Western line:C.A.BCD

Phrase 6"Concluding Theme Hook"

Sustained Hook

D— CD— CD—

Final Mandra Sweep

C.B.A.BC

Final Komal Ga Fade

D#— DD#— DD#

Western line:D— CD— CD— | C.B.A.BC D#— DD#— DD# /

Continuous Western Notes Sheet

// Radha Krishna Star Bharat Flute Theme - Western Notation

D— CD— CD C.B.A.BC D#— DD#— DD# /// Opening Theme Hook – Part 1

.G.GD— CD— CD C.B.A.BC D#— DD#— DD# /// Opening Theme Hook – Part 2

D— GG D— AA D A#A#— AGF(E)FE /// High Peak Variation 1

D— GG D— AA D(C')D'C' A#— AGF(E)FE—// High Peak Variation 2

C.A.BCD// Transition Bridge

D— CD— CD— C.B.A.BC D#— DD#— DD# /// Concluding Theme Hook

Phrase-by-Phrase Playing Guidance

Phrase 1:

"Opening Theme Hook – Part 1"

Sustain Madhya Re (R—), play the quick step SR— SR, glide smoothly down into lower Mandra notes S.N.D.NS with warm breath, then play half-hole Komal Ga (g— Rg— Rg) with a gentle vibrato.

Phrase 2:

"Opening Theme Hook – Part 2 (Lower Pa Attack)"

Start firmly from double Mandra Pa (.P.P) with warm air, leap up to Re (R—), repeat the flowing descent S.N.D.NS, and finish sweetly on g— Rg— Rg with a quiet breath pause (/).

Phrase 3:

"High Peak Variation 1 (Pa-Dha-Komal Ni)"

Play R— PP cleanly, step up to R— DD, hit the held Komal Ni (R nn—) with emotional intensity, and glide down through DPM with a delicate grace touch on (G) before landing on Komal Ga (g).

Phrase 4:

"High Peak Variation 2 (Tara Saptak Re Climax)"

Build dynamic breath energy through R— PP and R— DD. Overblow cleanly into higher Tara Saptak Re R(S')R'S'n—, and descend with graceful kan-swar ornament DPM(G)Mg—.

Phrase 5:

"Lower Mandra Transition Bridge"

Connect the climax smoothly back to the opening motif by stepping softly from Sa (S) down to lower Dha (.D), lower Ni (.N), and rising through Sa to Re (SR).

Phrase 6:

"Concluding Theme Hook"

End the composition with a peaceful, resonant rendition of the primary theme, letting the final Komal Ga (g) fade out smoothly with natural reverberation.

How to Practice & Master this Theme Step-by-Step

Follow this structured routine for clean phrasing and tone

Warm up with Swar Sadhana on lower octave notes (.P, .D, .N) and Komal Ga (g) half-hole finger control.

Practice Phrase 1 and 2 slowly with a metronome at 65 – 75 BPM until the descent S.N.D.NS is completely seamless.

Practice half-covering the third hole for Komal Ga (g) to ensure precise pitch without sounding flat or sharp.

Work on Phrase 4's transition into higher octave Tara Re (R') using focused air speed rather than forceful blowing.

Incorporate the kan swar (G)M ornament on the DPM(G)Mg descent for that signature soulful expression.

Play all 6 phrases continuously with a soothing tanpura drone in D or C.

Common Mistakes to Avoid

Ensure smooth transitions and avoid accidental pitch errors

Overblowing on Mandra Pa (.P.P) causing the flute to jump into middle octave Pa unexpectedly

Inaccurate half-hole coverage on Komal Ga (g), resulting in pitch discrepancies

Rushing the sustained Re (R—) notes in the opening hook

Harsh air burst on Tara Saptak Re (R') instead of a gentle, focused embouchure adjustment

Skipping the subtle meend glide on DPM(G)Mg

Recommended Practice Tools & Lessons

Interactive Bansuri Fingering Chart Online Flute Tuner Flute Note and Key Converter How to Read Bansuri Notation Raag Shivranjani Guide Daily Flute Practice Guide

This page contains independently created flute notation for educational and practice purposes. The original composition, melody, lyrics, characters, and other elements associated with RadhaKrishn belong to their respective copyright owners. FluteSangam is not affiliated with or endorsed by Star Bharat or the creators of the series.

No original audio or video from the TV series is hosted on this page.

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About the Author

Founder Story About Us

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.