Meditations for Fingers

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Meditations for Fingers

The following meditations will help you consciously experience your individual fingers and the strength within them. You will become acquainted with your fingers, learning to trust and love them. The positive experiences that I have had confirm that the classification of chakra energy with each of the fingers is accurate. It meaningfully complements the meridian system. Your conscious and constructive thoughts are also useful.


here. As already mentioned, thoughts and feelings influence every body function. What you "set your heart on" and "talk yourself into" will manifest itself within a foreseeable amount of time.
Hindu healing practitioners already discovered long ago that too much or too little of an element (earth, water, air, fire, and ether) causes the body to become imbalanced or even seriously ill. See page 30 for more information on this topic. We can restore the harmony within us through the corresponding images. Just as every element can have a positive influence on us, it can also destroy us. The individual elements naturally influence each other. Every element has special needs that can be easily satisfied in a balanced and calm dynamic state. But how often are we stressed, rest and exercise too little, eat too much, or let ourselves be plagued by worries? All or this throws us off balance. When the body is no longer capable of attaining harmony, we are out of balance and we become susceptible to disease.

KARTAL

KARTAL

Kartal are a pair of wooden blocks or frames with small metal jingles mounted in them. They are simply beaten together to provide a rhythmic support to bhajans, kirtan, folk and other light music. The term kartal is also applied to wooden claves

In Manipur (Northeast India) the term "kartal" is used for a large set of manjira. This is a very different instrument and should not be confused with the more common Kartal.

JAL TARANG

JAL TARANG
Jal tarang is a set of china bowls that are filled with water. Each bowl is struck with a light wooden mallet to cause it to ring. Jal tarang is not very common and is normally found in the accompaniment of kathak dancers.

The Jaltarang one of the most rarely heard instruments today. It is one of the oldest instrument in the world. It consists of china bowls filled with water and struck by means of two cane sticks. Earlier, since china clay bowls werent' available, artists used to play this instrument with metal bowls. Each bowl can be tuned to the desired frequency by varying the quantity of water in it. These bowls are placed in a semi - circle arrangement around the player and played. Anicent texts mentioned instruments similar to this. Indian, Greek and Byzantian texts described such an instruments. The Jalatarang has a pleasant characteristic tone. The player can produce on it, classical indian ragas and light melodies as well.
Almost all Indian musical instruments can be traced to some form of ancient veena-s. Jal Tarang is one of the recent additions to Indian musical instruments. Not mentioned prior to Sangeet Parijaat and the Krishna-cult poets1, it has international links with Gongs and Gamelan of Burma, Java, Sumatra being played in a similar fashion. On the Borobudur stupa musical cups are depicted. Music is played on such cups in Buddhist temples of Japan and in Kabuki theater. The essence of Jal-tarang remains Indian as hindustani notes emanate through bowls from China played upon with Japanese bamboo sticks.
Inspired by Jaltarang, glass music became popular in sixteenth century Europe using glasses in place of cups. A curious variant of the Jaltarang is found in Jaisalmer district. A single metal plate -- called thali or tasli -- used for accompaniment by varying strokes to produce different tones and rhythms, is filled with water and is called Jaltaal. Although in prevalence for over five centuries now, the instrument drew quite a few enthusiasts in the first half of twentieth century. All India Radio incorporated a position of staff artiste in Jal-Tarang. The instrument was extensively used in film music and orchestral compositions. However, due to its design and delicate build coupled with lack of ease in playing more complex Raga-s, very few artistes adopted it as their main instrument for classical performances.

The famous film director O.P. Nayyar narrated the sad decline of this instrument in a television interview. Visiting one of the musicians of his troupe who used to play jal-tarang, Nayyar inquired whether his sons had been inducted into playing this instrument. The musician replied that with synthesizers and other electronic gadgetry, there is no demand in the industry for such instruments. No one in his family tried to play jal-tarang and the China bowls are taken out whenever soup is to be served. Music had always been integrated in the daily routine -- the morning prayers, chants for specific tasks, songs of seasons and celebrations. First the concept of 'personal' in art robbed it of its natural evolution then technology bulldozed the seriousness associated with study of art. Only when we consult a reference book do we learn about India's rich heritage of musical instruments.
Jal-tarang finds its first mention in Sangeet Parijaat. This medieval musical treatise categorizes this instrument under Ghan-Vadya (Idiophonic instruments in which sound is produced by striking a surface, also called concussion idiophones.) SangeetSaar considered one with 22 cups to be complete Jal Tarang and one with 15 cups to be of mediocre status. Cups, of varying sizes were made of either bronze or porcelain. Today only china bowls are preferred by artistes, numbering around sixteen in normal use. Cups for Mandra Swar (notes of lower octave)are large while those for Taar Swar (notes of higher octaves) are smaller in size. Water is poured into the cups and the pitch is changed by adjusting the volume of water in the cup. The number of cups depends on the melody being played. The bowls mostly are arranged in a half-circle in front of the player who can reach them all easily. The player softly hits the cups with a wooden stick on the border to get the sound. Its not easy to tune the instrument and needs some skill. During playing fine nuances can be reached if the performer is accomplished. SangeetSaar mentions that if the player can rotate the water through a quick lithe touch of the stick, nuances and finer variations of the note can be achieved.
The rapid globalization and change in the pace of routine life has forced many of the finer aspects of culture out of popular custom and practice. Instruments like Dilruba, Israj, Sur-bahar, Vichitra veena and even Sarangi find few takers. It was with a desire to preserve the traditional and ancient arts that Ministry of Culture came up with a scheme to train young enthusiasts under masters of these traditional arts.

GHUNGHARU or PAAYAL

GHUNGHARU or PAAYAL

Ghungharu are the "tinklebells" or "jingle bells" which are used to adorn the feet of dancers. When tied to the feet, they are played by the act of dancing. They may also be played by hand. This instrument evolved from the payal which are traditional anklets worn by women in India.


The terms payal and ghungharu are nearly interchangeable; there is but a slight difference in the colour of the word. Whereas the term ghungharu evokes an image of the musical or dance performance, the term payal evokes the image of a mere adornment of the feet. The term payal shows up repeatedly in song and poetry in northern India where it is said to be an indication of a girl's comings and goings, her dancing, and a general joyous mood of the wearer.

There are two common forms of the ghungharu. The traditional form is merely a number of bells woven together on a string. However today it is common to find them stitched to a padded cushion. This may then be strapped to the feet of a dancer. Both forms are shown in the accompanying illustration.

GAYAKI - NORTH INDIAN VOCAL MUSIC

GAYAKI - NORTH INDIAN VOCAL MUSIC

The vocal tradition is especially strong in Indian music. It goes without saying that the song is probably the most ancient form of music. Vocal music occupies a considerable part of the Natya Shastra.

One may argue that the Vedas, especially the Samaveda, is the oldest musical text in India. It is true that the Samaveda is written in a crude musical notation. However, it is probably more appropriate for us to look at contemporary music.

Contemporary musical forms are built up from very well defined structures. These structures such as a primary theme, a secondary theme and other elements form a structured framework in which a largely improvised system of music can work.

There are many genres, some old and some new. Dhrupad and dhammar are some of the oldest in use today; they go back to the Mogul era (circa 16th century). Equally old, but stylistically quite different, is the tarana; this is based upon meaningless syllables. More modern (by Indian standards) are the highly improvised kheyal, dadra, and thumri. Another classical style is the tappa of Punjab.

Most of the classical songs of north India are devotional in nature, but there are a few genre which are especially oriented toward religion. Most notable is the bhajan, dhun or kirtan for Hindus, the kawali (qawali) for Muslims, and the shabad for Sikhs.

Not all the music is serious, for there are also many popular genres. The gazal is one style which is known for it rich poetic, and romantic content. the Hindi geet is basically just a song. Undoubtedly, the most popular is the film song.

There are also a few genres which are oriented specifically toward musical education. The most notable example is the lakshan geet. In this style the words of the song actually describe the rag which is being performed. Another genre which is used for pedagogic purposes is the swarmalika. This style uses the sargam of the piece instead of words.

India also has a rich tradition of folk music. These will vary from region to region.


VOCAL FORMS

* Kheyal
* Bhajan
* Tarana
* Dhrupad
* Dhammar
* Dadra
* Gazal
* Geet
* Thumri
* qawwali
* Kirtan or Dhun
* Shabad
* Lakshangeet
* Film Songs
* Folk Music
* Swarmalika

VADHYA SANGEET (INSTRUMENTAL MUSIC)

VADHYA SANGEET (INSTRUMENTAL MUSIC)

Instrumental music occupies an important position in Indian music. It is one of the threefold aspects of "sangeet" (vocal music, instrumental music, and dance), and has a very ancient history. Instrumental music is known as "vadhya sangeet".

There is a general tendency for the instrumental styles to follow quite closely the vocal styles. Yet, the degree to which an instrument follows is primarily linked to the dynamics of the instrument.

Dynamics is the nature of the loudness of an instrument. This is not intended to mean loudness in the usual interpretation, but rather the amplitudinal characteristics of the instrument. The sitar and flute offer a good illustration. A flute is continuously excited, therefore there is a steady sound as long as the breath is applied. Since it is possible to sustain a sound for a long time, it is possible to perform all kinds of delicate meends (glissando), gamaks or other ornamentation. Instruments with a long sustain tend to follow the vocal styles in their presentation. Contrast this to a sitar with its rapid decay. The sound is essentially inaudible within a few seconds. Many types of ornamentation cannot be executed due to this quick decay.

This creates an artistic pressure for these instruments to develop their own styles. These styles enhance the strong points while avoiding the weaknesses. Over the years they have become formalized into four major instrumental styles known as: alap, jor, gat and jhala. The alap is a slow rhythmless elaboration upon the rag. The jor is a section that has rhythm but no developed rhythmic cycle (i.e., tal). The gat is the fully developed piece, while the jhala is a fast rhythmic interplay between the drone strings and the main playing strings.

INDIAN FOLK MUSIC

INDIAN FOLK MUSIC

India has a very rich tradition of folk music. The extreme cultural diversity creates endless varieties of folk styles. Each region has its own particular style.

There is a tendency to lump folk music along with tribal music. There is actually a difference. Where folk music is a mere rustic reflection of the larger Indian society, tribal music often represents cultures that are very different. Some of these tribal cultures are throwbacks to cultural conditions as they were thousands of years ago.

Tribal and folk music is not taught in the same way that Indian classical music is taught. There is no formal period of apprenticeship where the student is able to devote their entire life to learning the music, the economics of rural life does not permit this sort of thing. The musical practitioners must still attend to their normal duties of hunting, agriculture or whatever their chosen profession is.

Music in the villages is learned almost by osmosis. From childhood the music is heard and imbibed along with ones mother's milk. There are numerous public activities that allow the villagers to practice and hone their skills. These are the normal functions which syncronize village life with the universe.

The music is an indispensable component of functions such as weddings, engagements, and births. There is a plethora of songs for such occasions. There are also many songs associated with planting and harvesting. In these activities the villagers routinely sing of their hopes, fears and aspirations.

Folk music is also used for educational purposes. For instance sex education has traditionally been taught in Andhra Pradesh by song. There is a function when a girl has her first menses. In this function the elderly women in the community gather at the house (men are definitely excluded), the girl is given her first woni and langa (half sari which is worn by unmarried girls), rich food and other gifts. During this function the women sing songs that are extremely bawdy. To an outsider this would seem uncharacteristic of obviously respectable community members. However the function of such songs is to provide the girl's first instructions on her emerging womanhood and what her future marital duties will be.

Musical instruments are often different from those found in classical music. Although instruments like the tabla may sometimes be found it is more likely that cruder drums such as daf, dholak, or nal will be used. The sitar and sarod which are so common in the classical genre are absent in the folk music. One often finds instruments such as the ektar, dotar, saringda, rabab, and santur. Quite often they will not even be called these names, but may be named according to their local dialect. There are also instruments which are used only in particular folk styles in particular regions. These instruments are innumerable.

The instruments that folk musicians use are generally not as refined as the classical musicians use. The instruments of classical music are crafted by artisans whose only job is the fabrication of musical instruments. In contrast the folk instruments are commonly crafted by the musicians themselves.

It is very common to find folk instruments that have been fabricated of commonly available materials. Skin, peritoneum, bamboo, coconut shells, and pots are but a few commonly available materials used to make musical instruments


FOLK MUSICAL INSTRUMENTS

* Bansuri - bamboo flute
* Bombashi - bamboo fipple flute
* Chimpta - fire tongs
* Daf - frame drum
* Damaru - hourglass drum
* Dhol - large barrel drum
* Dholak - barrel drum
* Dholki - barrel drum
* Dotar #1 - simple lute
* Dotar #2 (a.k.a. dotora) - simple lute
* Ektar - simple lute
* Gettuvadyam - hammered lute
* Ghatam - clay pot
* Ghungharu - small bells
* Gopichand - one stringed instrument
* Idakka and Udaku - hourglass drums
* Kamancha - simple fiddle
* Kartal - wooden clappers
* Khol - clay drum
* Magadi Vina - bamboo lute
* Murchang - jaw harp
* Naggada - kettle drums
* Nakula - bamboo lute
* Pena - simple one string bowed instrument
* Pung - drum
* Pungi - snake charmer's instrument
* Rabab - lute
* Ravanhasta - simple fiddle
* Santur - hammered dulcimer
* Saringda - simple fiddle
* Shankh - conch shell
* Thanthi Panai - pot drum


OTHER INDIAN VOCAL FORMS

* Bhajan
* Dadra
* Dhammar
* Dhrupad
* Film Music
* Gazal
* Geet
* Kheyal
* Kirtan / Dhun
* Lakshan Geet
* Qawwali
* Shabad
* Tappa
* Tarana
* Thumri