Bharata Muni
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1/ Hollow (suṣira) musical instruments, as the wise should know, are made from bamboo. The rules regarding their notes (svara) and Grāma are the same as those for the Vīṇā.
2/ Flute notes, as is known, have two, three, and four [śruti]; they are “trembling” (kampita), “half-open” (ardha-mukta), and “fully open” (vyakta-mukta).
3/ In exactly the same way as [at a higher level] the note of the Vīṇā passes into another, so too in the case of the flute it [behaves] in a similar manner.
4/ The number of śruti in [the notes produced] on the flute will be two, three, or four; by prolonging the breath, the remaining notes [— Sādhāraṇa and Kākalī] may also be produced.
5/ The characteristic of the notes is determined by the number of śruti — four, three, or two — [arising] depending on the placement of the fingers when playing the flute.
6/ An opening completely free of the finger produces a note with four śruti; a trembling finger [on the opening] creates a note with three śruti.
7/ A half-closed hole produces a note with two śruti. Such are [the three kinds of notes] according to the application of the fingers.
8/ In Ṣaḍja-grāma (ṣaḍja-grāma): Ṣaḍja (ṣaḍja), Madhyama (madhyama), and Pañcama (pañcama) are produced from [fully] open holes; Dhaivata (dhaivata) and Ṛṣabha (ṛṣabha) — from [holes] with a trembling finger.
9/ Gandhāra (gāndhāra) and Niṣāda (niṣāda) are produced from half-closed holes. Such is [the principle] of the notes of the Ṣaḍja-grāma on the flute.
10/ The overlapping notes (svara-sādhāraṇa) and Kākalī (kākalī) arise through [a special conjunction] of the Niṣāda and Gāndhāra notes with the fundamental notes [of another Grāma].
11/ The flute notes should be perfected with the help of the Vīṇā and the human throat. Those very notes that the singer reaches should be sung [together] with the accompaniment of the flute.
12/ [Flute music,] characterized by stability, moderate volume, including Varṇas and Alaṃkāras and following the rules, is sweet and calming.
13/ Thus have been set forth [the rules] regarding hollow instruments. Next will follow [the exposition of rules regarding] solid instruments (ghana).