A tambura (South India) or tanpura (North India) is a long-necked Indian plucked string instrument. In its bodily shape it somewhat resembles the sitar, but it has no frets, as only the open strings are played as a harmonic accompaniment to the other musicians. It has four or five (rarely, six) wire strings, which are plucked one after another in a regular pattern to create a harmonic resonance on the basic note (bourdon or drone function).
Tanpuras come in different sizes and pitches: bigger "males" and smaller "females" for vocalists and yet a smaller version that is used for accompanying sitar or sarod, called tamburi or tanpuri. Male vocalists pitch their tonic note (Sa) to about C#, female singers usually a fifth higher. The male instrument has an open string length of approx. one metre, the female is sized down to 3/4. The standard tuning is 5881, sol do' do' do, or in Indian sargam: PA sa sa SA. For ragas that omit the fifth, the first string will be tuned down to the natural fourth: 4881 or Ma sa sa Sa. Some ragas require a less common tuning with shuddh NI (semitone below octave sa) : NI sa sa SA. With a five-string instrument, the seventh or NI (natural minor or major 7th) is added: PA NI sa sa SA (57881)or MA NI sa sa SA (47881). The name 'tanpura' is probably derived from tana, referring to a musical phrase, and pura which means "full" or "complete". Both in its musical function and how it works, the tanpura is a unique instrument in many ways. It does not partake in the melodic part of the music but it supports and sustains the melody by providing a very colourful and dynamic harmonic resonance field based on one precise tone, the basic note or key-note. The special overtone-rich sound is achieved by applying the principle of jivari which creates a sustained, "buzzing" sound in which particular harmonics will resonate with focused clarity. 'Jiva' refers to 'soul', that which gives life. What is implied is that an 'animated' tone-quality is the idea which the tanpura embodies. The principle of jivari can be likened to the prismatic refraction of white light into the colours of the rainbow, as its acoustic twin-principle at work.
To achieve this effect, the strings pass over a wide, arched bridge-piece, the front of the bridge sloping gently away from under the strings. When the string is plucked, it will have an intermittent periodical contact with the bridge at a point close to the front edge. This intermittent grazing of string and bridge is not a static process, as the points of contact will gradually shift, being a compound function of amplitude and the curvature of the bridge and string tension. When the string is plucked it has a large amplitude, moving up and down and contacting the bridge on the down-phase. As the energy of the string's movement gradually diminishes, the contact point of the string with the bridge slowly creeps up the slope to the top of the bridge toward point zero when the string has finally come to rest. (depending on scale and pitch, this can take between 3 and 10 seconds) This dynamic sonic process can be fine-tuned using a cotton thread between string and bridge. By shifting the thread minutely, the whole dynamic process of the grazing contact is also shifted to a different position on the bridge, thus changing the harmonic content. Every single string produces its own cascading range of harmonics and at the same time builds up a particular resonance. Evidently, this generates a diversity of harmonic possibilities. According to this refined principle tanpuras are most attentively tuned to achieve a particular tonal shade in function of the intonation-related qualities of the raga.
These more delicate aspects of tuning are directly related to what Indian musicians call 'raga svaroop', which is about how very characteristic intonations strengthen the tonal impression of a particular raga. The particular set-up of the tanpura with the adjustable sonic-prismatic function of curved bridge and thread made it possible to explore a multitude of harmonic relations produced by the subtle harmonic interplay of four strings. Theoretically, at least, this is what the instrument was designed to do. However, it seems that this degree of artistry is slowly being eclipsed by the common use of the readily accessible electronic tanpura, which is not capable of this natural diversity as it produces one 'standard' sound per setting.
Sunday, February 15, 2009
Tabla
Origin of the Tabla
The more colorful version of the history of the tabla is that Amir Khusro, the chief councilor of Allauddin Khilzi, invented the Tabla in the 13th century. Some believe he invented the Tabla set by dividing the Pakhawaj (or Mirdinham) in half. However, the Amir’s court recorder, Abul Fazil, made no mention of this momentous cultural break through in music. So it is unlikely that Khusro is the inventor. Since the word tabla, may derive from the Arabic tabl (drum) or the Turkish dawal, it is more likely that these cultures introduced the design into Indian culture. Even this is speculation since the earliest depictions the tabla in Indian literature does not occur until the 18th century.
Today, Tablas are part of the standard Indian musical society. They give the beat to the orchestra, accompanying sitars and tamburas. They also provide the beat for dancers. With skill the Tabla can be played alone providing a pleasing performance in double, triple and fourth speeds.
Description of the Tabla
The Tabla is really a two drum set. The cylindrical, wooden drum is played with the right hand. This drum is called the Dayan, Dahina, or the Tabla. These Dayan are usually carved of toon or rosewood wood. They are approximately 9-10 inches tall and have a head diameter of 6 inches. Expect considerable variation in the head diameter, and be specific about the diameter of your drum when ordering replacement heads. The base of the drum has a slightly larger diameter that the open head.
The “left hand” drum is slightly conical and bowl shaped. This drum can be made of metal, wood, or ceramic. It is called the Bayan, Duggi, or Dagga. These are approximately 10 inches high and have a head diameter of roughly 10 inches
The heads of both the dayan and the bayan are multi layered goatskin called a puddi. They are made on multi-layered membranes. Think of the main skin as a circle. It has a diameter sufficient to overlap the opening of the drum by one to two inches. Now imagine two skins that have the same diameter as the main skin, but they have had their centers cut out. The main skin is sandwiched between these two donut-shaped skins. These donut-shaped skins cover only the outer edge of the main skin. Near the center of the head, is a black spot, the siyahi. The phonetic name of this spot is the Cee-Hi. This black raised area is applied in layers, and is usually made of rice, glue, graphite, and iron fillings. The siyahi is essential to the sound of the tabla. Be careful not to allow the siyahi to become damp, this will loosen the layers. Once the siyahi has been damaged the drum must be re-headed.
Our Tablas
Mid-East carries several styles of Tablas for the beginner and the accomplished player. Each set comes with a tuning hammer, cushions, covers, and in a carrying case.
The Standard Tabla Set with Aluminum Bayan (TBSS) and wooden dayan offers good craftsmanship and good savings. Both are tuned by lacing. A cylindrical carrying case is included.
Our Bolt Tuned Tabla Set with Brass Bayan (TBBD) has the standard wooden dayan paired with a deluxe nickel coated brass bayan. Both are bolt tuned, which makes changing the heads faster and can be done by the novice. A professional side-by-side fiberglass case is included.
The Professional Tabla Set (TBSP) has a deluxe nickel coated brass bayan and wooden dayan. Both are tuned by lacing. A professional side-by-side fiberglass case is included.
Mid-East also offers a very attractive Tabla Set with Embossed Brass Bayan in gold color (TBSG) and nickel coated (TBSE). Both are tuned by lacing. A professional side-by-side fiberglass case is included.
Tabla Accessories and Instruction
Along with the sets you can purchase each drum separately. You can also purchase the standard nylon case (NCTB) or the professional case (TBCL). Mid-East carries accessories as well, including tuning hammers (HAMR), cushion sets (TBCH), tabla lacing (TBLC), and replacement heads for the dayan and bayan (TBHD, TBHB). If you are a student of Tabla consider our two volume set of Learn to Play Tabal books (LTB2). Ran Avtar `Vir’ authors this set. They cover Parts of tablas, sitting positions, Boles, time and rhythm, tuning exercises, history, care, beginning tals, advance talas, and more. An additional learning aide is the Exotic Percussion of the World (VIDE). This video has several advanced players demonstrating techniques on a number of drums.
Tuning The Tabla
The tuning of the tabla is dependent on the raga being played. The wooden dagga should be tuned very low, but, not so low that it does not compliment the tabla.
Tabla drumheads are attached and tuned by lacing. The lacing is looped through 16 holes on the edge of the head, over the body, and around a rawhide ring at the base of the drum. The lacing is pulled tight. For tuning, 8 tabla blocks are held under the lacing. These blocks are tapped with the tuning hammer to slacken or stretch the lacing. The subtle movement of the blocks alters the pitch of the drum. Tapping the blocks lower, increases the tension on the lacing and puddi, and raises the pitch of the drum. Fine tuning can be achieved by tapping the edge of the puddi or laces. It is important to have equal tension around the drum for proper tuning.
Re-heading a laced tabla requires some patience. Pay special attention to the way the lacing is wrapped before you remove the old head. It may take some time to re-lace, and some sweat to pull the lacing tight.
There is a nut and bolt style tunable tabla set which is often preferred to the lace tuning sets. The nut and bolt tuning allow fast replacement of the heads as well as ease of tuning. This is especially helpful for the novice.
What is that black spot on the tabla head?
That is the siyahi (pronounced cee- hi). It helps give the tabla its distinctive sound. The siyahi is delicate and should not be scratched at or allowed to become damp. Once the siyahi is damaged the tabla must be re-headed.
The siyahi is a very important and critical part of the tabla. It is usually made of rice, glue, graphite, and iron fillings. It is located on the Dayan and Bayan heads. The black applied in layers on the heads off center. Each layer is a bit small that the previous one. If you look closely you can see distinct layers. When it is finished the siyahi bulges slightly above the head surface. Get out a magnification glass and look at the siyahi. There should be some sheen to its surface. Look closely and you will see hairline cracks on the surface of the layers. These cracks are an integral part of how the siyahi operates. If the siyahi were solid and inflexible it would act as a damper on the sound of the head. The cracks act as expansion joints that let the siyahi flex while the drum head is vibrating and still remain intact. As a head ages, these cracks will widen. Eventually small bits of the siyahi will dislodge and flake off.
The siyahi can be damage by rings on the fingers or accidental strikes to the head by hard objects. Always protect your drum heads. Mid-East tablas come with cushions and head covers. Keep the head cover handy and use it whenever you are not playing.
Moisture is the biggest threat to the siyahi. Moisture can wick from the skinhead to the siyahi. Once damp, the siyahi can be loosened from the head. If the layers of the siyahi are damaged the drum must be re-headed.
The more colorful version of the history of the tabla is that Amir Khusro, the chief councilor of Allauddin Khilzi, invented the Tabla in the 13th century. Some believe he invented the Tabla set by dividing the Pakhawaj (or Mirdinham) in half. However, the Amir’s court recorder, Abul Fazil, made no mention of this momentous cultural break through in music. So it is unlikely that Khusro is the inventor. Since the word tabla, may derive from the Arabic tabl (drum) or the Turkish dawal, it is more likely that these cultures introduced the design into Indian culture. Even this is speculation since the earliest depictions the tabla in Indian literature does not occur until the 18th century.
Today, Tablas are part of the standard Indian musical society. They give the beat to the orchestra, accompanying sitars and tamburas. They also provide the beat for dancers. With skill the Tabla can be played alone providing a pleasing performance in double, triple and fourth speeds.
Description of the Tabla
The Tabla is really a two drum set. The cylindrical, wooden drum is played with the right hand. This drum is called the Dayan, Dahina, or the Tabla. These Dayan are usually carved of toon or rosewood wood. They are approximately 9-10 inches tall and have a head diameter of 6 inches. Expect considerable variation in the head diameter, and be specific about the diameter of your drum when ordering replacement heads. The base of the drum has a slightly larger diameter that the open head.
The “left hand” drum is slightly conical and bowl shaped. This drum can be made of metal, wood, or ceramic. It is called the Bayan, Duggi, or Dagga. These are approximately 10 inches high and have a head diameter of roughly 10 inches
The heads of both the dayan and the bayan are multi layered goatskin called a puddi. They are made on multi-layered membranes. Think of the main skin as a circle. It has a diameter sufficient to overlap the opening of the drum by one to two inches. Now imagine two skins that have the same diameter as the main skin, but they have had their centers cut out. The main skin is sandwiched between these two donut-shaped skins. These donut-shaped skins cover only the outer edge of the main skin. Near the center of the head, is a black spot, the siyahi. The phonetic name of this spot is the Cee-Hi. This black raised area is applied in layers, and is usually made of rice, glue, graphite, and iron fillings. The siyahi is essential to the sound of the tabla. Be careful not to allow the siyahi to become damp, this will loosen the layers. Once the siyahi has been damaged the drum must be re-headed.
Our Tablas
Mid-East carries several styles of Tablas for the beginner and the accomplished player. Each set comes with a tuning hammer, cushions, covers, and in a carrying case.
The Standard Tabla Set with Aluminum Bayan (TBSS) and wooden dayan offers good craftsmanship and good savings. Both are tuned by lacing. A cylindrical carrying case is included.
Our Bolt Tuned Tabla Set with Brass Bayan (TBBD) has the standard wooden dayan paired with a deluxe nickel coated brass bayan. Both are bolt tuned, which makes changing the heads faster and can be done by the novice. A professional side-by-side fiberglass case is included.
The Professional Tabla Set (TBSP) has a deluxe nickel coated brass bayan and wooden dayan. Both are tuned by lacing. A professional side-by-side fiberglass case is included.
Mid-East also offers a very attractive Tabla Set with Embossed Brass Bayan in gold color (TBSG) and nickel coated (TBSE). Both are tuned by lacing. A professional side-by-side fiberglass case is included.
Tabla Accessories and Instruction
Along with the sets you can purchase each drum separately. You can also purchase the standard nylon case (NCTB) or the professional case (TBCL). Mid-East carries accessories as well, including tuning hammers (HAMR), cushion sets (TBCH), tabla lacing (TBLC), and replacement heads for the dayan and bayan (TBHD, TBHB). If you are a student of Tabla consider our two volume set of Learn to Play Tabal books (LTB2). Ran Avtar `Vir’ authors this set. They cover Parts of tablas, sitting positions, Boles, time and rhythm, tuning exercises, history, care, beginning tals, advance talas, and more. An additional learning aide is the Exotic Percussion of the World (VIDE). This video has several advanced players demonstrating techniques on a number of drums.
Tuning The Tabla
The tuning of the tabla is dependent on the raga being played. The wooden dagga should be tuned very low, but, not so low that it does not compliment the tabla.
Tabla drumheads are attached and tuned by lacing. The lacing is looped through 16 holes on the edge of the head, over the body, and around a rawhide ring at the base of the drum. The lacing is pulled tight. For tuning, 8 tabla blocks are held under the lacing. These blocks are tapped with the tuning hammer to slacken or stretch the lacing. The subtle movement of the blocks alters the pitch of the drum. Tapping the blocks lower, increases the tension on the lacing and puddi, and raises the pitch of the drum. Fine tuning can be achieved by tapping the edge of the puddi or laces. It is important to have equal tension around the drum for proper tuning.
Re-heading a laced tabla requires some patience. Pay special attention to the way the lacing is wrapped before you remove the old head. It may take some time to re-lace, and some sweat to pull the lacing tight.
There is a nut and bolt style tunable tabla set which is often preferred to the lace tuning sets. The nut and bolt tuning allow fast replacement of the heads as well as ease of tuning. This is especially helpful for the novice.
What is that black spot on the tabla head?
That is the siyahi (pronounced cee- hi). It helps give the tabla its distinctive sound. The siyahi is delicate and should not be scratched at or allowed to become damp. Once the siyahi is damaged the tabla must be re-headed.
The siyahi is a very important and critical part of the tabla. It is usually made of rice, glue, graphite, and iron fillings. It is located on the Dayan and Bayan heads. The black applied in layers on the heads off center. Each layer is a bit small that the previous one. If you look closely you can see distinct layers. When it is finished the siyahi bulges slightly above the head surface. Get out a magnification glass and look at the siyahi. There should be some sheen to its surface. Look closely and you will see hairline cracks on the surface of the layers. These cracks are an integral part of how the siyahi operates. If the siyahi were solid and inflexible it would act as a damper on the sound of the head. The cracks act as expansion joints that let the siyahi flex while the drum head is vibrating and still remain intact. As a head ages, these cracks will widen. Eventually small bits of the siyahi will dislodge and flake off.
The siyahi can be damage by rings on the fingers or accidental strikes to the head by hard objects. Always protect your drum heads. Mid-East tablas come with cushions and head covers. Keep the head cover handy and use it whenever you are not playing.
Moisture is the biggest threat to the siyahi. Moisture can wick from the skinhead to the siyahi. Once damp, the siyahi can be loosened from the head. If the layers of the siyahi are damaged the drum must be re-headed.
Carnatic Ragas
After spending a great deal of time studying the theory of North Indian music through the harmonium, we began to appreciate its great degree of usage. We learned in Appendices S4 and S5 of the faults and limitations of the harmonium. We took the harmonium and try to extract the harmony from it by understanding chords. After spending time on such a spectrum in North Indian music, it is important to take a quick peek in the only genre of music in India that does not use harmonium.
The Carnatic system of music is the music of South India. This form of music is considered to be the most purest forms, as it has retained most of its shape and form, while North Indian music is a fusion between Persian and Vedic music. By nature, Carnatic music is one of the most difficult music in the world. One of the many reasons for this is the complicated note system.
CARNATIC NOTATION
In the scale, there are twelve unique sounds in total. However, in Carnatic music, there are also four notes which are already acknowledged for before. Sa and Pa are immoveable notes. Ma only comes in two forms. This means, Ri, Ga, Dha, and Ni have more forms than merely “normal note” and “flat note.” Unfortunately, the theory of how to derive the notes is beyond the scope of this article. Here is the sixteen note scale of Carnatic music. Unlike Hindustani music, numbers are used to mark the positioning of notes.
S
R 1
R 2 , G 1
R 3, G 2
G 3
M 1
M 2
P
D 1
D 2, N 1
D 3, N 2
N 3
Notice how four notes have multiple names. For instance, R 2 can be called G 1. This is similar to Western music, where D sharp can be noted as E flat. The both notes sound exactly the same, but functionality is totally different.
The Vedic names for the sixteen notes go as follows.
S = Sadjamam (Tonic)
R 1 = Suddha Risabham (Lowest Ri)
R 2 = Catusruti Risabham (Fourth microtone Ri) same as G 1
R 3 = Satasruti Risabam (Highest microtone Ri) same as G 2
G 1 = Suddha Gandharam (Lowest Ga) same as R 2
G 2 = Sadharana Gandharam (Ordinary Ga) same as R 3
G 3 = Antara Gandharam (Cadenced Ga)
M 1 = Suddha Madhayamam (Lowest ma)
M 2 = Prati Madhyamam (Augmented ma)
P = Pancham (Fifth or Pa)
D 1 = Suddha Dhaivatam (Lowest Dha)
D 2 = Catusruti Dhaivatam (Fourth microtone Dha) same as N 1
D 3 = Satasruti Dhaivatam (Highest microtone Dha) same as N 2
N 1 = Suddha Nisadam (Lowest Ni) same as D 2
N 2 = Kaisiki Nisadam (Middle Ni) same as D 3
N 3 = Kakali Nisadam (Highest Ni)
Like with Hindustani music, notes in higher or lower octaves will receive an apostrophe (‘) in front of or behind the note, respectively.
Since more possibilities of notes form, due to a particular frequency belonging to a different swarasthana, more ragas can be formed. Their system of ragas is much more complex than North Indian system. While ten parent scales (thāts) and over one hundred ragas are known to the North Indian musicians, South Indian musicians recognize seventy-two parent scales (melakartas, South Indian equivalent of thāt) and over five thousand ragas.
Since the Carnatic system has real notes that can be represented on the keyboard, why is the South Indian system not picking up the harmonium? The question lies in purity of the music itself. It has been shown before that the harmonium is based on an equally-tempered scale. In reality, the twelve notes are not equidistant. It is the first reason why Carantic musicians reject harmonium; it cannot accompany their voice to the best extent. Even if it did, then it will not cut the high standards of mimicking the human voice. The gamaks, minds, and other complex vocal ornamentation cannot be reproduced by the harmonium.
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The Carnatic system of music is the music of South India. This form of music is considered to be the most purest forms, as it has retained most of its shape and form, while North Indian music is a fusion between Persian and Vedic music. By nature, Carnatic music is one of the most difficult music in the world. One of the many reasons for this is the complicated note system.
CARNATIC NOTATION
In the scale, there are twelve unique sounds in total. However, in Carnatic music, there are also four notes which are already acknowledged for before. Sa and Pa are immoveable notes. Ma only comes in two forms. This means, Ri, Ga, Dha, and Ni have more forms than merely “normal note” and “flat note.” Unfortunately, the theory of how to derive the notes is beyond the scope of this article. Here is the sixteen note scale of Carnatic music. Unlike Hindustani music, numbers are used to mark the positioning of notes.
S
R 1
R 2 , G 1
R 3, G 2
G 3
M 1
M 2
P
D 1
D 2, N 1
D 3, N 2
N 3
Notice how four notes have multiple names. For instance, R 2 can be called G 1. This is similar to Western music, where D sharp can be noted as E flat. The both notes sound exactly the same, but functionality is totally different.
The Vedic names for the sixteen notes go as follows.
S = Sadjamam (Tonic)
R 1 = Suddha Risabham (Lowest Ri)
R 2 = Catusruti Risabham (Fourth microtone Ri) same as G 1
R 3 = Satasruti Risabam (Highest microtone Ri) same as G 2
G 1 = Suddha Gandharam (Lowest Ga) same as R 2
G 2 = Sadharana Gandharam (Ordinary Ga) same as R 3
G 3 = Antara Gandharam (Cadenced Ga)
M 1 = Suddha Madhayamam (Lowest ma)
M 2 = Prati Madhyamam (Augmented ma)
P = Pancham (Fifth or Pa)
D 1 = Suddha Dhaivatam (Lowest Dha)
D 2 = Catusruti Dhaivatam (Fourth microtone Dha) same as N 1
D 3 = Satasruti Dhaivatam (Highest microtone Dha) same as N 2
N 1 = Suddha Nisadam (Lowest Ni) same as D 2
N 2 = Kaisiki Nisadam (Middle Ni) same as D 3
N 3 = Kakali Nisadam (Highest Ni)
Like with Hindustani music, notes in higher or lower octaves will receive an apostrophe (‘) in front of or behind the note, respectively.
Since more possibilities of notes form, due to a particular frequency belonging to a different swarasthana, more ragas can be formed. Their system of ragas is much more complex than North Indian system. While ten parent scales (thāts) and over one hundred ragas are known to the North Indian musicians, South Indian musicians recognize seventy-two parent scales (melakartas, South Indian equivalent of thāt) and over five thousand ragas.
Since the Carnatic system has real notes that can be represented on the keyboard, why is the South Indian system not picking up the harmonium? The question lies in purity of the music itself. It has been shown before that the harmonium is based on an equally-tempered scale. In reality, the twelve notes are not equidistant. It is the first reason why Carantic musicians reject harmonium; it cannot accompany their voice to the best extent. Even if it did, then it will not cut the high standards of mimicking the human voice. The gamaks, minds, and other complex vocal ornamentation cannot be reproduced by the harmonium.
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Tanpura and Sruti-peti
First, we will examine the instrument called the tanpura. A tanpura used in North Indian music. A tanpura is a four-stringed drone instrument which is constantly strummed throughout a performance to keep the pitch. The tanpura is usually tuned to S, S of the mandra saptak, and P of the mandra saptak. Because of this rich sound, singers and musicians prefer this instrument for its light sound and powerful range.
As said before, it is tuned to ‘P, S, S, and ‘S. This is true with most ragas. However, there will be some ragas where there won’t be a P in there, like Raga Malkauns. Since there is a suddha ma, the tanpura will be tuned to ‘m S S ‘S. If there is no Pa and no suddha ma, then the first string is tuned to ‘N, since that next best solution.
Tanpuras, however, are one of the most fragile instruments. The sound box is made of pumpkin gourd, which can break pretty easily. Also, transporting tanpuras become very difficult as they can be as tall as a person! It also requires constant maintenance and care. A couple of alternatives were developed.
First alternative was electronic tanpuras, which were machines used to replicate the sounds of the tanpura. It is great for musicians practicing Indian music, who couldn’t afford an actual tanpura. Of course, there is no real replacement for the real tanpura.
A second alternative was the sruti-peti, which is shown on Figure S3.2. A sruti-peti is a harmonium without keys. When air is pumped into it, it a drone of one key is held for a long time. Musically, this really does not have much value as Sa can change depending the main artist. As well, you only have one note to use as a drone.
The harmonium can do more than what sruti-peti can do, for obvious reasons. You can use your harmonium and play Sa as well as Pa or ma together. This will be the perfect drone. If you harmonium has drone stops, pull the appropriate stop and it’ll play that note for you instead of you always having to push down on the key. When playing a melody without using stops, you can often play the Sa together certain notes to make a strong effect of the Sa’s presence.
As said before, it is tuned to ‘P, S, S, and ‘S. This is true with most ragas. However, there will be some ragas where there won’t be a P in there, like Raga Malkauns. Since there is a suddha ma, the tanpura will be tuned to ‘m S S ‘S. If there is no Pa and no suddha ma, then the first string is tuned to ‘N, since that next best solution.
Tanpuras, however, are one of the most fragile instruments. The sound box is made of pumpkin gourd, which can break pretty easily. Also, transporting tanpuras become very difficult as they can be as tall as a person! It also requires constant maintenance and care. A couple of alternatives were developed.
First alternative was electronic tanpuras, which were machines used to replicate the sounds of the tanpura. It is great for musicians practicing Indian music, who couldn’t afford an actual tanpura. Of course, there is no real replacement for the real tanpura.
A second alternative was the sruti-peti, which is shown on Figure S3.2. A sruti-peti is a harmonium without keys. When air is pumped into it, it a drone of one key is held for a long time. Musically, this really does not have much value as Sa can change depending the main artist. As well, you only have one note to use as a drone.
The harmonium can do more than what sruti-peti can do, for obvious reasons. You can use your harmonium and play Sa as well as Pa or ma together. This will be the perfect drone. If you harmonium has drone stops, pull the appropriate stop and it’ll play that note for you instead of you always having to push down on the key. When playing a melody without using stops, you can often play the Sa together certain notes to make a strong effect of the Sa’s presence.
Ragas
RAGA DARBARI
Raga Darbari is a night raga which was invented by Miyan Tansen, one of the best musicians in the history of North Indian classical musicians. Here are the properties of the raga:
Aroha: S R g m P d n S’
Avaroha: S’ d n P – m P n g m R S
Jati: Sampurna-Sampurna
Vadi: g
Samvadi: d
Swarupa: S R g R S ‘d ‘n S
Prahar: 7th prahar (approximately 9 PM to 12 AM)
RAGA MALKAUNS
Raga Malkauns is a midnight raga from the Bhairavi That. The raga was originally conceived when Parvati sang the raga to pacify Lord Siva’s anger. We will study a chant used in this raga. The chant is “Om Namo Bhagavate Vasudevaya.” Before we look at the chant, let’s look at the raga profile.
Aroha: S g m d n S’
Avaroha: S’ n d n d m g m g S ‘n S
Jati: Audava-Audava
Vadi: m
Samvadi: S
Swarupa: ‘n S g m g S ‘n S ‘d ‘n S
Prahar: 7th (9 PM to 12 AM)
This is indeed a fun chapter in learning songs with different melodies, despite its complexities. If you are disheartened that there are only two songs, don’t worry, we will learn more ragas throughout. Just learn these songs to perfection. Play and sing these songs accurately, as well as in proper tempo. Remember, building raga knowledge from this chapter is very important, but building tala knowledge from Chapter 9 and incorporating it here is just as important too.
Raga Darbari is a night raga which was invented by Miyan Tansen, one of the best musicians in the history of North Indian classical musicians. Here are the properties of the raga:
Aroha: S R g m P d n S’
Avaroha: S’ d n P – m P n g m R S
Jati: Sampurna-Sampurna
Vadi: g
Samvadi: d
Swarupa: S R g R S ‘d ‘n S
Prahar: 7th prahar (approximately 9 PM to 12 AM)
RAGA MALKAUNS
Raga Malkauns is a midnight raga from the Bhairavi That. The raga was originally conceived when Parvati sang the raga to pacify Lord Siva’s anger. We will study a chant used in this raga. The chant is “Om Namo Bhagavate Vasudevaya.” Before we look at the chant, let’s look at the raga profile.
Aroha: S g m d n S’
Avaroha: S’ n d n d m g m g S ‘n S
Jati: Audava-Audava
Vadi: m
Samvadi: S
Swarupa: ‘n S g m g S ‘n S ‘d ‘n S
Prahar: 7th (9 PM to 12 AM)
This is indeed a fun chapter in learning songs with different melodies, despite its complexities. If you are disheartened that there are only two songs, don’t worry, we will learn more ragas throughout. Just learn these songs to perfection. Play and sing these songs accurately, as well as in proper tempo. Remember, building raga knowledge from this chapter is very important, but building tala knowledge from Chapter 9 and incorporating it here is just as important too.
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