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

CARNATIC SANGEET- THE SOUTH INDIAN SYSTEM OF MUSIC

CARNATIC SANGEET- THE SOUTH INDIAN SYSTEM OF MUSIC

INTRODUCTION

Carnatic sangeet, (Karnatik Sangit) is the south Indian system of music. It has a rich history and a very sophisticated theoretical system. The performers and composers have, gained a world class reputation by singing and playing instruments such as veena (vina), gottuvadyam, violin, and mridangam.

In the West, Carnatic Sangeet is not as well known as Hindustani Sangeet (north Indian music). Whenever Westerners think of Indian music, they immediately think of Ravi Shankar and the sitar. Although South Indian music is extremely sophisticated, there has not emerged an artist with the worldwide recognition that North Indians, like Ravi Shankar, have been able to generate.

GEOGRAPHICAL DISTRIBUTION

Carnatic Sangeet is found in the south Indian states of Tamil Nadu, Kerala, Andhra Pradesh and Carnatica. These states are known for their strong presentation of Dravidian culture.

RELATIONSHIP BETWEEN HINDUSTANI AND CARNATIC SANGEET

The reasons for the differentiation between North, and South Indian music is not clear. The generally held belief is that North Indian music evolved along different lines due to an increased exposure to the Islamic world. This results from nearly 800 years of Islamic rule over northern India.

Unfortunately, evidence suggests that this answer is a gross over-simplification. For instance, Kerala has an extremely large Muslim population, but virtually no identification with north Indian music. By the same token, the Islamic influence over Orissa was negligible, yet the artistic forms are clearly identifiable as Hindustani. Although there is a poor correlation between the geographical distribution of Hindus / Muslims and the two musical systems; there is an almost exact correlation between the Indo-European/Dravidian cultures and the two musical systems.

Therefore, we come to the politically uncomfortable, yet inescapable conclusion that the differences between North and South Indian music does not represent a differentiation caused by Islamic influence, but instead represents a continuation of fundamental cultural differences.

HISTORY OF CARNATIC SANGEET

We can begin our discussion of the history of Carnatic Sangeet with Purandardas (1480-1564). He is considered to be the father of Carnatic Sangeet. He is given credit for the codification of the method of education, and is also credited with several thousand songs.

Venkat Mukhi Swami (17th century) is the grand theorist of Carnatic music. He was the one who developed the melakarta system. This is the system for classifying south Indian rags.

Carnatic music really acquired its present form in the 18th century. It was during this period that the "trinity" of Carnatic music, Thyagaraja, Shamashastri, and Muthuswami Dikshitar composed their famous compositions. In addition to our "trinity". Numerous other musicians and composers enriched this tradition. Some notable personalities were; Papanasam Shivan, Gopala Krishna Bharati, Swati Tirunal, Mysore Vasudevachar, Narayan Tirtha, Uttukadu Venkatasubbair, Arunagiri Nathar, and Annamacharya.

CARNATIC MUSIC THEORY

Carnatic music has a very highly developed theoretical system. It is based upon a complex system of ragam (rag) and thalam (tal). These describe the intricacies of the melodic and rhythmic forms respectively.

The melodic foundation is the ragam (rag). Ragam (rag) is basically the scale. The seven notes of the scale are Sa Ri Ga Ma Pa Dha and Ni. However, unlike a simple scale there are certain melodic restrictions and obligations. Each ragam (rag) has a particular way that it moves from note to note.

The ragams are categorised into various modes. These are referred to as mela, and there are 72 in number. The mela are conceptually similar to the thats of North Indian music. There is however, a major difference. South Indian scales allow chromatic forms that are not allowed in Hindustani sangeet. For instance it is perfectly acceptable for the first three notes (i.e., Sa Re Ga to all be roughly one semitone apart. It is these permissible forms which allow there to be so many mela.

The tal (thalam) is the rhythmic foundation to the system. The south Indian tals are defined by a system of clapping and waving, while this is much less important in the north. North Indian musicians define their tals by their theka.

Nomenclature is one of the biggest differences between North and South Indian music. It is normal for a particular rag or tal to be called one thing in the North and something totally different in the South. It is also common for the same name to be applied to very different rags and tals. It is theses differences in nomenclature that have made any theoretical reconciliation difficult.

PERFORMANCE

Vocal music forms the basis of South Indian music. Although there is a rich instrumental tradition that uses vina, venu and violin, they revolve around instrumental renditions of vocal forms.

There are a number of sections to the Carnatic performance. Varanam is a form used to begin many south Indian performances. The word varanam literal means a description and this section is used to unfold the various important features of the ragam. The kritis are a fixed compositions in the rag. They have well identified composers and do not allow much scope for variation. However such compositions are often preceded by alapana. The alapana offers a way to unfold the ragam to the audience, and at the same time, allow the artist considerable scope for improvisation. The niruval and the kalpana swara also provide opportunities to improvise. Another common structure is the ragam, thanam, and, pallavi

South Indian performances are based upon three major sections. These are the pallavi anupallavi and charanam. These roughly correspond to the sthai, antara and the abhog in Hindustani sangeet.

CONCLUSION

The rich tradition of South Indian music is one of the worlds gems. The high performance standards and the well organised theoretical foundation put it on par with anything that world has seen, either East or West.


INSTRUMENTS USED IN SOUTH INDIAN MUSIC

* Thalam (manjira)
* Ghatam
* Murchang
* Venu
* Nadaswaram
* Veena
* Gotthuvadyam
* Thambura (tambura)
* Getchuvadyam
* Violin
* Mridangam
* Tavil
* Ottu

HINDUSTANI SANGEET- THE NORTH INDIAN SYSTEM OF MUSIC

HINDUSTANI SANGEET- THE NORTH INDIAN SYSTEM OF MUSIC

The north Indian system of music is known as Hindustani Sangeet or sometimes Hindusthani Sangit. It covers an area that extends roughly from Bangladesh through northern and central India into Pakistan and as far as Afghanistan.

The usual interpretation states that theHindustani system may be thought of as a mixture of traditional Hindu musical concepts and Persian performance practice. The advent of Islamic rule over northern India caused the musicians to seek patronage in the courts of the new rulers. These rulers, often of foreign extraction, had strong cultural and religious sentiments focused outside of India; yet they lived in, and administered kingdoms which retained their traditional Hindu culture. Several centuries of this arrangement caused the Hindu music to absorb musical influences from the Islamic world, primarily greater Persia.

Although this is the usual view, there are reasons to think that this is an over-simplification. This view gives excessive weight to the religious differences between the Hindus of South Asia and the Muslims of the greater Persian empire (present day Iran, Afghanistan, and portions of the former Soviet Union.) At the same time it ignores long standing linguistic, economic, and cultural ties which existed between the areas of present day northern Indian and the greater Persian world.

There are a number of musical instruments that we associate with Hindustani sangeet. The most famous is the sitar and tabla. Other less well known instruments are the sarod, sarangi and a host of others.

Some of the major vocal forms associated with Hindustani Sangeet are the kheyal, gazal, and thumri. Other styles which are also important are the dhrupad, dhammar, and tarana. This is just a small sampling for there are many other vocal styles that we will have to discuss elsewhere.


NORTH INDIAN MUSICAL INSTRUMENTS

* Sitar
* Sarod
* Surbahar
* Vichitra Vina
* Tanpura
* Santur
* Rabab
* Bansuri
* Shehnai
* Harmonium
* Manjira
* Ghungharu
* Sarangi
* Esraj
* Dilruba
* Mayuri
* Tabla
* Tabla Tarang
* Pakhawaj


NORTH INDIAN VOCAL STYLES

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


NORTH INDIAN INSTRUMENTAL STYLES

* Alap
* Jor
* Gat
* Jhala
* Dhun

INDIAN MUSICAL INSTRUMENTS

INDIAN MUSICAL INSTRUMENTS

There are many musical instruments in India. Some instruments are used primarily in north Indian music (Hindustani sangeet), some are used in the south Indian music (Carnatic sangeet), while others are found in folk music. Instrumental music is usually similar to vocal music but sometimes there are distinctive instrumental styles.


There is a traditional system for the classification of instruments. This system is based upon; non-membranous percussion (ghan), membranous percussion (avanaddh), wind blown (sushir), plucked string (tat), bowed string (vitat). Here are the classes and representative instruments.

NON-MEMBRANOUS PERCUSSIVE (Ghan)

This is one of the oldest classes of instruments in India. This class is based upon percussive instruments which do not have membranes, specifically those which have solid resonators. These may be either melodic instruments or instruments to keep tal.

* Chimpta
* Ghatam
* Ghungharu
* Jal Tarang
* Kartal
* Kasht Tarang
* Manjira
* Nout
* Murchang

BLOWN AIR (Sushir)

This class of instrument is characterized by the use of air to excite the various resonators.

* Bansuri
* Bombashi
* Harmonium
* Mukhavina
* Nadaswaram
* Ottu
* Pungi
* Shankh
* Shehnai
* Surpeti

PLUCKED STRINGED INSTRUMENTS (Tat)

This class of instruments is characterized by plucked strings. In ancient times virtually all instruments of this class were referred to as vina.

* Bulbul Tarang
* Dotar #1
* Dotar #2 (Dotora)
* Ektar
* Getchu Vadyam (Gettuvadyam)
* Gopichand (ektar)
* Gotuvadyam
* Katho
* Magadi Vina
* Nakula Vina
* Rabab (Kabuli Rabab)
* Rudra Vina
* Saraswati Vina (South Indian Vina)
* Santur
* Sarod
* Seni Rabab
* Sitar
* Surbahar
* Surmandal
* Swarabat (Swaragat)
* Tanpura
* Vichitra Vina

BOWED-STRINGED INSTRUMENTS (Vitat)

This is a class of stringed instruments which are bowed. This class appears to be quite old, yet these instruments did not occupy a place in classical music until the last few centuries. The entire class of instruments has a certain stigma attached to it. Even today only the Western violin is free of this stigma.

* Chikara
* Dilruba
* Esraj
* Kamancha
* Mayuri Vina
* Pena (a.k.a. Bana)
* Ravanhasta
* Sarangi
* Saringda
* Tar Shehnai
* Violin

MEMBRANOUS PERCUSSIVE (Avanaddh)

This is a class of instruments which have struck membranes. These typically comprise the drums.

* Chenda
* Daf (Duf, Daphu, Daffali)
* Damaru
* Dhol
* Dholak
* Dholki (Nal)
* Idakka and Udaku (Udakai)
* Kanjira
* Khol (Mridang)
* Maddal
* Mridangam
* Nagada
* Pakhawaj
* Pung
* Shuddha Madalam
* Tabla
* Tabla Tarang
* Tasha
* Tavil
* Thanthi Panai
* Tumbak

We have given a brief overview of the Indian instruments. We mentioned that the instruments fall into five categories: ghan (non-membranous percussion), sushir (wind blown), tat (plucked stringed), vitat (bowed stringed) and avanaddh (membranous percussion). Within these five classes there are a large number of individual instruments.

SARASWATI VINA

SARASWATI VINA

Saraswati vina (Saraswathi veena) is the instrument associated with Saraswati, the goddess of learning and the arts. This instrument is common in south India and is an important instrument in carnatic sangeet. It is variously called simply vina, or veena, the "Saraswati" part being implied.

The saraswati vina has an interesting construction. It has a body made of wood, generally, this is jackwood. The highest quality vinas have the entire body carved from a single block of wood, while the ordinary vinas have a body which is carved in three sections (resonator, neck and head). There are 24 frets made of brass bars set into wax. (see "Fretting and Fingering the Vina") There is another resonator at the top of the neck. This is no longer a functioning resonator, but is mainly used as a stand to facilitate the positioning of the instrument when it is played. Because it is no longer functioning it is not unusual to find that this upper resonator may be made of acoustically neutral materials such as paper mache, cane or other similar materials. Unlike north Indian instruments like the sitar, the saraswati vina has no sympathetic strings. It has only four playing strings and three drone strings (thalam). (see also "Tuning the Vina") The main bridge is a flat bar made of brass. This bar has a very slight curve. It is this light curve which gives the vina its characteristic sound. A major centre for the manufacture of the saraswati vini is in Tanjore.

The playing position is shown below. We see that the performer sits cross-legged on the floor, the small vestigial gourd rests against the left thigh while the main resonator rests on the floor. The right hand plucks the strings while the left hand frets the instrument.

The Saraswati Veena is one of the most ancient and revered of South Indian instruments. Together with Bansuri flute this form of veena may be seen in many sacred pictures of Saraswati, goddess of music.


Have you ever seen "Rudra Veena"? The Rudra Veena is an instrument that is rarely heard on the concert stage now. Although,two centuries ago it was regarded as the king of all instruments. The duration of these veena's notes is incredibly long. The sound produced by rudra veena composed of regular, uniform vibrations. The Rudra Veena is considered the mother of all string instruments. Around since very ancient time, Lord Shiva is said to have played this instrument when he created whole Brahamanda . The belief is that Shiva and Parvati used to dance to the music that emanated from this instrument.

Saraswathi Veena Chart: Discription of Veena

Melody is produced on four metal strings that run above the frets. These are stretched over a wide bridge that sits on the body of the veena. Three other strings run alongside the neck of the instrument. These are used for maintaining time and for playing the drone. The performer, who sits cross-legged on the stage, rests the small resonator on the left lap. The fingers of the left hand are used to press, pull and glide on the frets, while the fingers of the right hand are used to pluck and twang the strings.

The veena is one of the most ancient string instruments of India. Its origin can be traced back to the ancient yazh, a stringed instrument, similar to the Grecian harp. Bharata, in his Natya Shastra, explains the theory of the 22 sruti-s in an octave with the help of two experimental veena-s.

The veena is a complete instrument and provides the basic components: sruti, laya and sahitya. Its main attraction is the mellow tonal quality which is capable of evoking a meditative atmosphere

Mohiniattam-The dance of the enchantress

Mohiniattam-The dance of the enchantress

This Indian classical dance form - Mohiniattam - comes from one of the South states of India, Kerala. And the mere mention of Kerala brings up in one’s mind the wondrous and incomparable beauty of its landscape .The scenic backwaters where the palm fronds fill up the Kerala skyline moving gently and gracefully in the breeze, the boats bobbing up and down gently, gracefully and in perfect tune with nature and its rhythm .

A Mohini Attam dancer immediately reminds you of this scenic beauty in her dance. The movements are beautiful and lyrical and they are always in an unbroken chain, from one movement very gently and gracefully merging into another . Though the movements are swaying and gentle the presentation comes out with a tremendous and strong impact leaving the spectator in an atmosphere of grace, charm, vitality and a forceful vivacity. The graceful and long limbs of a Mohini Attam dancer brings before your eyes the vision of the palm fronds swaying and dancing in the breeze and the movements are like those of a boat bobbing up and down in the back waters. There is a tremendous amount of force that a Mohini Attam dancer brings out in her performance without which the performance would be lacking in its lustre but this tremendous energy is released in a very controlled and graceful manner which can be achieved only with discipline , hard work and (bhakti) or devotion to the art form.

Also, another feature that influences Mohini Attam is the simplicity of dressing by the people in Kerala which is visible in the costume of the dancer .White is a favourite colour of the people basically because of the hot and humid climate , and a Mohini Attam costume is always white or off white with gold or red border . The hair is tied in a bundle on the left side with white flowers (mogra) around it, with a simple ornament tied on the bun.The jewellery used for the neck is a ‘choker’ ,and a kasimala(coin chain).For the ears a dancer wears a “toda’ which is circular like a coin and has dangling earrings with it known as “jhumka” .The face is done up with an exaggerated eye make up to help her express her emotions . The eyes reflect immediately the mental state of the situation or character the dancer is representing and a description of Mohini Attam cannot be complete without the mention of the nayanabhinaya or the use of the eyes, eyebrows and eyelids.

But at the end of it all the transformation is tremendous. The merrily dancing eyes and the fluttering of the eyebrows of the dancer all create a devastatingly mischievous atmosphere .The sweet smelling of the flowers, the gentle, swaying movement of the torso in perfect harmony with the music and the bewitching personality of a Mohini attam dancer all take us to the highest aesthetic order “the atmosphere of enchantment ” .



The Indian mythology mentions a few times when Lord Vishnu (one among the trinity of Gods-Brhma, Vishnu, Mahesha) assumes the form of Mohini to save the Gods from their clash with the asuras or demons. In one instance when the Gods and demons were churning the mighty ocean for the pot of nectar (amrita), with the serpent Vasuki twined around the mountain Mandaragiri. The ocean brought out all the treasures buried in its depth, while the devas (gods) and asuras (demons) churned on and on. Finally when the pot of nectar appeared ,the demons true to their nature grabbed it. The universe would be in total darkness if the demons had their way. It is at this moment the Lord, assumes the form of Mohini to save the Universe from the hands of the demons and total darkness.

The tinkling sound of bells, the sweet smell of flowers, the divine being, the beauty unparalleled -The Enchantress . The one, who could take your minds away from the present to another world of beauty and charm. The lotus eyed one dancing gently and gracefully filling the atmosphere with unsurpassed heavenly beauty. The demons true to her instructions shut their eyes to relinquish and behold the beauty they envisioned . She is Mohini the celestial dancer, one who has come to enchant.

Until, a few decades ago it was presumed that in India there were only four classical dances. Bharata Natyam, Kathak, Manipuri and Kathakali . But then due to the pioneering works of great gurus (teachers), dancers and scholars the dance forms of Mohini Attam, Kuchipudi and Odissi were discovered in their native settings and brought out into the urban stage, much to the delight and wonderment of the lovers of dance .

There is a considerable amount of disagreement among scholars regarding the antiquity of Mohini Attam. Most of them agree that it was during Maharaja Swati Tirunal‘s rule in the 16th century that Mohini Attam achieved its refined form. The Maharaja of Travancore was a great patron of arts and he encouraged artistes, singers, dancers from all over the country to come and perform in his court. During this time he also invited the Tanjore quartets from Tamil Nadu who were great Bharata Natyam nattuvanars ( or teachers) who brought with them dancers and thus influenced the already present local dance form. The Maharaja was a great bhakta or devotee of Lord Padmanabha and wrote and composed in Hindustani as well as Carnatic innumerable kritis, padams and varnams in his praise. The Maharaja’s padams are always a part of a Mohini Attam dancer’s repertoire.

But it was finally only in the 20th century that Mohini Attam got its fresh impetus that it actually deserved, and it has come to stay. It was when Mahakavi Vallathol set up the premiere institution for Kathakali , Kerala Kalamandalam in India that he invited three dancers practicing Mohini Attam at that time Kalpuratte Kunjukutty Amma, Tottacheri Chinnamuamma and Kalyani Kutty Amma to come and teach Mohini Attam in his institution. Till ,little more than a decade ago the Mohini Attam repertoire ran almost parallel to the Bharata Natyam repertoire. But just as each region has its own individuality and identity it was natural that Mohini Attam had to find its own identity. Due to the relentless work of great researchers, scholars, performers of Mohini Attam , this dance form achieved its present classical standing.

But it was finally only in the 20th century that Mohini Attam got its fresh impetus that it actually deserved, and it has come to stay. It was when Mahakavi Vallathol set up the premiere institution for Kathakali , Kerala Kalamandalam in India that he invited three dancers practicing Mohini Attam at that time Kalpuratte Kunjukutty Amma, Tottacheri Chinnamuamma and Kalyani Kutty Amma to come and teach Mohini Attam in his institution. Till ,little more than a decade ago the Mohini Attam repertoire ran almost parallel to the Bharata Natyam repertoire. But just as each region has its own individuality and identity it was natural that Mohini Attam had to find its own identity. Due to the relentless work of great researchers, scholars, performers of Mohini Attam, this dance form achieved its present classical standing.



Today, we have different schools of Mohini Attam just as you have schools for Bharata Natyam. But they all have one thing in common they all imbibe the beautiful lyrical elements of the social folk dances of the graceful women from Kerala. Every classical dance form from India has its beginnings in the local prevalent folk art forms and has also been very strongly influenced by the social, political, religious and behavioral pattern of the people of the region. The classical dance forms have imbibed these features to give them all a distinct flavour of its own, but they are still all bound by the great traditions set by the ‘Natyashastra’ around the 2nd century B.C.. The ‘Natyashastra’ is a treatise on dance and drama and lays down rules regarding the practice and presentation of drama and dance. Each dance form adopts it to suit the regional changes in the social, religious, political and behaviour of the people. But it was around the 3rd century A.D that Nandikeshvara wrote the Abhinaya Darpanam which is very religiously followed by the practitioners of Bharata Natyam .It gives the usage of hastas (hand gestures), pada bhedas (feet positions) ,caris (gaits) , gatis (steppings) etc.

Similarly a study of Mohini Attam wouldn’t be complete without the study of Balaramabharatam. The author Maharaja Kartikatirunal Rama Varma was a descendant of the ancient Chera kings of South India who encouraged arts and literature in the 18th century.. The Maharaja was a great scholar and had an extraordinary talents not only for literature but also for music, dance and other allied arts and was also a great poet .His contribution to Kathakali ( a dance drama tradition) of Kerala is incomparable. The book gives a detailed insight into the technical performing aspects for Mohini Attam. There is a mention of the use of hastas(hand gestures), angas ( major limbs) upangas ( minor limbs ) and pratyangas ( neck, wrists, knees, thighs etc).Reading through the text and the practical details mentioned in the book leaves a student of Mohini Attam with very few doubts on the technicalities. The Balaramabharatam is an accepted text by most leading dancers, scholars of India today for Mohini Attam.

Being associated for a very long time and having the opportunity to learn under one of the pioneer’s of Mohini Attam , Padmashri (Dr.) Kanak Rele who is responsible for bringing Mohini Attam into the classical map of India , I would say is a blessing .Also the privilege of working with one of the leading theater personalities , scholar, poet and a great musical composer Shri Kavalam Narayana Panikker whose contribution to Mohini Attam also needs a special mention. Mohini Attam will flourish and go a long way. With due respect to all performers, scholars, and teachers of the art form, we shall have just one aim in mind to carry on this great art form from one century into the next .The responsibility put into us by the great performers of the last and present century to carry on this great tradition and initiate the uninitiated into another world of beauty , grace and charm.

GHATAM

GHATAM

Ghatam is nothing more than a large clay pot. It is very commonly played in South Indian classical performances. There are two actions of resonance. The primary one is the ringing of the pot caused by striking. A very low resonance is also produced by the cavity. This pitch is raised or lowered by opening or closing the hole with the stomach.

Ghatam is one of the oldest carnatic instrument used in the percussion side. However this is made up of clay and iron ore which makes it a good solid body to play.


Ghatam is an earthern pot where player used all there fingers to produce the sound. However the sound is a metallic sound.

TH Vinayakram plays the Indian clay pot called the Ghatam. During performance he keeps his belly exposed to facilitate the use in creating tones on the mouth of the Ghatam. He plays fast rhythms of knuckle-cracking intensity using different parts of the Ghatam from the mouth to the bottom of pick up different resonant tones due to thickness of the clay. He is featured in the Taal Ensemble and in the Shakti recordings of Zakir Hussain and John McLaughlin.

ghatam is made with special metal ores such that it gives a good sound and it can be used as an instrument.

ghatam is of two type madras ghatam and maana madurai ghatam. The earlier madras ghatam is light and the maana madurai ghatam is a heavy ghatam and tone is beautiful in both the ghatams

A good quality South Indian Ghatam/Clay pot made of special resonant fire treated clay for high quality sound.

CHIMPTA (CHIMTA)

CHIMPTA (CHIMTA)
(MUSICAL FIRE TONGS)

The chimpta is actually a fire tong. However, it has evolved into a musical instrument by the permanent addition of small brass jingles. This instrument is especially popular in Punjabi folk music and the Sikh religious music known as Shabad.

Selected Vedio

INDIAN MUSICAL INSTRUMENTS

INDIAN MUSICAL INSTRUMENTS

There are many musical instruments in India. Some instruments are used primarily in north Indian music (Hindustani sangeet), some are used in the south Indian music (Carnatic sangeet), while others are found in folk music. Instrumental music is usually similar to vocal music but sometimes there are distinctive instrumental styles.

There is a traditional system for the classification of instruments. This system is based upon; non-membranous percussion (ghan), membranous percussion (avanaddh), wind blown (sushir), plucked string (tat), bowed string (vitat). Here are the classes and representative instruments.

NON-MEMBRANOUS PERCUSSIVE (Ghan)

This is one of the oldest classes of instruments in India. This class is based upon percussive instruments which do not have membranes, specifically those which have solid resonators. These may be either melodic instruments or instruments to keep tal.

* Chimpta
* Ghatam
* Ghungharu
* Jal Tarang
* Kartal
* Kasht Tarang
* Manjira
* Nout
* Murchang

BLOWN AIR (Sushir)

This class of instrument is characterized by the use of air to excite the various resonators.

* Bansuri
* Bombashi
* Harmonium
* Mukhavina
* Nadaswaram
* Ottu
* Pungi
* Shankh
* Shehnai
* Surpeti

PLUCKED STRINGED INSTRUMENTS (Tat)

This class of instruments is characterized by plucked strings. In ancient times virtually all instruments of this class were referred to as vina.

* Bulbul Tarang
* Dotar #1
* Dotar #2 (Dotora)
* Ektar
* Getchu Vadyam (Gettuvadyam)
* Gopichand (ektar)
* Gotuvadyam
* Katho
* Magadi Vina
* Nakula Vina
* Rabab (Kabuli Rabab)
* Rudra Vina
* Saraswati Vina (South Indian Vina)
* Santur
* Sarod
* Seni Rabab
* Sitar
* Surbahar
* Surmandal
* Swarabat (Swaragat)
* Tanpura
* Vichitra Vina

BOWED-STRINGED INSTRUMENTS (Vitat)

This is a class of stringed instruments which are bowed. This class appears to be quite old, yet these instruments did not occupy a place in classical music until the last few centuries. The entire class of instruments has a certain stigma attached to it. Even today only the Western violin is free of this stigma.

* Chikara
* Dilruba
* Esraj
* Kamancha
* Mayuri Vina
* Pena (a.k.a. Bana)
* Ravanhasta
* Sarangi
* Saringda
* Tar Shehnai
* Violin

MEMBRANOUS PERCUSSIVE (Avanaddh)

This is a class of instruments which have struck membranes. These typically comprise the drums.

* Chenda
* Daf (Duf, Daphu, Daffali)
* Damaru
* Dhol
* Dholak
* Dholki (Nal)
* Idakka and Udaku (Udakai)
* Kanjira
* Khol (Mridang)
* Maddal
* Mridangam
* Nagada
* Pakhawaj
* Pung
* Shuddha Madalam
* Tabla
* Tabla Tarang
* Tasha
* Tavil
* Thanthi Panai
* Tumbak

We have given a brief overview of the Indian instruments. We mentioned that the instruments fall into five categories: ghan (non-membranous percussion), sushir (wind blown), tat (plucked stringed), vitat (bowed stringed) and avanaddh (membranous percussion). Within these five classes there are a large number of individual instruments.

Jalandhara Bandha - Net-Bearer Bond

Jalandhara Bandha - Net-Bearer Bond

(jah-lahn-DHA-rah bahn-dah)
jala = net (for catching birds or fish)
dhara = bearing, supporting
bandha = bond

Step by Step

1) Sit in a comfortable pose.

2) Firm your shoulder blades against your back torso to lift your sternum. Be careful not to push your front ribs forward.

3) Full Jalandhara requires the chin to rest comfortably on the sternum (neck flexion). Many beginners make the mistake of only lowering the chin; in fact your chin should be met half-way by the elevated sternum.

4) The focus of these complementary movements is the "crook" of the throat, where the underside of the chin meets the front of the neck. Draw this crook diagonally up and into your skull (toward the top of your spine). Your head should pivot and your chin should descend over this action, which simultaneously draws the top of the sternum upward.

5) Work on lengthening the back of your neck, releasing your shoulders, and opening your chest in poses like Sarvangasana and Setu Bandha Sarvangasana. Never force your chin to your sternum.

6) If you're a beginner, don't hold this bandha continuously throughout your practice. Begin your inhalation with your head upright. Apply Jalandhara as you near the end of the inhale, hold during the retention and the exhale, then raise your head to a neutral position for the next inhale.

Source : yogajournal.com

Svara Yoga Pranayama- Yoga of Sound Breath

Svara Yoga Pranayama- Yoga of Sound Breath
(s-VAR-ah)
svara = sound, air breathed through the nostrils

Step by Step

1) Traditionally the five "elements" that make up our body-mind (and the entire material universe)-earth, water, fire, air, "ether"-are each energetically associated with a fixed point on the linings of our nostrils. So it's possible to influence and transform our body-mind by channeling our breath over or away from these points. .

2) This exercise is a variation of the traditional teaching, since our two points are non-traditional and not elementally potent, and our immediate goal is simply to become better acquainted with our breath. These points (two in each nostril) are the "inner nostril" just beside the septum, and the "outer nostril," underneath the "wing" (ala) of the nose.

3) Sit comfortably and attend to your breath as it passes in and out through your nostrils. It's likely you'll feel a difference between the two; your inhale, for example, is touching your right nostril near the septum, but your left nostril below the wing.

4) Watch for a minute or two, then begin to channel (or "narrow") your inhales across your inner nostrils. Continue for a minute or two.

5) After breathing normally for 30 seconds, begin to channel (or "widen") your exhales beneath s your outer nostrils, "widening" your breath. Again continue for a minute or two, then return to normal breathing for 30 seconds.

6) Finally combine the inner and outer breaths and breath slowly for a few minutes. You can practice this version of Svara Yoga during Ujjayi or Kapalabhati (on the exhale).


Source : yogajournal.com

Kapalabhati Pranayama- Skull Brightener Breath

Kapalabhati Pranayama- Skull Brightener Breath

(kah-pah-lah-BAH-tee)
kapala = skull
bhati = light (implying perception, knowledge)

Step by Step

Kapalabhati consists of alternating short, explosive exhales and slightly longer, passive inhales. Exhales are generated by powerful contractions of the lower belly (between the pubis and navel), which push air out of the lungs. Inhales are responses to the release of this contraction, which sucks air back into the lungs.

Focus on your lower belly. Many beginners aren't able to isolate and contract this area. If needed, cup one hand lightly in the other and press them gently against your lower belly.

Now quickly contract (or pump your fisted hands against) your lower belly, pushing a burst of air out of your lungs. Then quickly release the contraction (or your hands), so the belly "rebounds" to suck air into your lungs. Pace yourself slowly at first. Repeat eight to 10 times at about one exhale-inhale cycle every second or two.

As you become more adept at contracting/releasing your lower belly, you can increase your pace to about two exhale-inhale cycles every second. Imagine the exhale sweeping out or "brightening" the inner lining of your skull.

Do 25 to 30 cycles at first. Gradually increase the number of cycles you do each practice to 100 or more.


Source : yogajournal.com