Hindu
Culture – Music
Music
The music of India includes multiple varieties of
folk, popular, pop, classical music and R&B. India's classical music
tradition, including Carnatic and Hindustani music, has a history spanning
millennia and, developed over several eras, it remains fundamental to the lives
of Indians today as sources of spiritual inspiration, cultural expression and
pure entertainment. India is made up of several dozen ethnic groups, speaking
their own languages and dialects, having very distinct cultural traditions. One
very popular song, "dil to bacha hai" is believed to be arabic music,
but was actually written by Thomas Bandeira who traveled to India and wrote it.
Classical music
Classical music
The two main traditions of classical music are Carnatic music, found predominantly in the peninsular regions, and Hindustani music, found in the northern and central regions. Both traditions claim Vedic origin, and history indicates that they diverged from a common musical root since about the 13th century.
Hindustani music
Hindustani music is an Indian classical music tradition that goes back to Vedic times around 1000 BC, and further developed circa the 13th and 14th centuries AD with Persian influences and from existing religious and folk music. The practice of singing based on notes was popular even from the Vedic times where the hymns in Sama Veda, a sacred text, was sung as Samagana and not chanted. Developing a strong and diverse tradition over several centuries, it has contemporary traditions established primarily in India but also in Pakistan and Bangladesh. In contrast to Carnatic music, the other main Indian classical music tradition originating from the South, Hindustani music was not only influenced by ancient Hindu musical traditions, historical Vedic philosophy and native Indian sounds but also enriched by the Persian performance practices of the Mughal era|Mughals. Besides pure classical, there are also several semi-classical forms such as thumri, Dadra and tappa.
Carnatic music
The present form of Carnatic music is based on historical developments that can be traced to the 15th - 16th centuries AD and thereafter. From the ancient Sanskrit works available, and the epigraphical evidence, the history of classical musical traditions can be traced back about 2500 years. "Carnatic" in sanskrit means "soothing to ears". Carnatic music is completely Melodic music|melodic, with improvised variations. The main emphasis is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as gāyaki. Like Hindustani music, Carnatic music rests on two main elements: IAST|[[raga|rāga', the [[musical modemodes or melodic formulæ, and IAST|tala musictāḷa, the rhythmic cycles.
Purandara Dasa is credited with having founded today's Carnatic Music. He systematized the teaching method by framing a series of graded lessons such as swaravalis, janta swaras, alankaras, lakshana geetas, prabandhas, ugabhogas, thattu varase, geetha, sooladis and kritis. He introduced the Mayamalavagowla as the basic scale for music instruction. These are followed by teachers and students of Carnatic music even today. Another of his important contributions was the fusion of bhava, raga and laya in his compositions.
Purandara Dasa was the first composer who started commenting on the daily life of the people in compositions. He incorporated in his songs popular folk language and introduced folk ragas in the mainstream. The most important contribution he made was the fusion of bhava, raga and laya into organic units.
He also composed a large number of lakshya and lakshana geetas, many of which are sung to this day. His sooladis exhibit his mastery of the techniques of music, and are considered an authority for raga lakshana. Scholars attribute the standardization of varna mettus entirely to Purandaradasa.
Purandaradasa's era was probably the beginning of Carnatic music's movement towards krithi based classical music (one of its distinguishing characteristics compared to Hindustani). The peripatetic dasas who followed him are believed to have followed the systems he devised, as well as orally passing down his compositions.
Purandaradasa was a performer, a musicologist and the father of Carnatic musical pedagogy. He is credited with having elevated Carnatic music from religious and devotional music into the realm of a performing art. For all these reasons and the enormous influence that he had on Carnatic music, musicologists call him the "Sangeeta Pitamaha" or the grandfather of Carnatic music.
Many songs and poems and ballads supported in carnatic music are written by poets all the way back to the 14th century. Thyagaraja, Annamacharya and Bhadrachala Ramadasu have written in Telugu and most of the melodious songs from carnatic music we listen today belong to one of them. There are multiple tamil and sanskrit lyrics as well which are sung in carnatic version.
Folk music
A pair of Indian folk musicians performing in a rural village
Main article: Indian folk music
Bauls
The Bauls of Bengal are an order of musicians dating back to the 17th century, who play a form of Vaishnava music using a khamak, ektara and dotara. The word Baul comes from Sanskrit batul meaning divinely inspired insanity. They are a group of mystic minstrels with a syncretic form of Vaishnavism influenced by Sufism and Buddhism. They are itinerant singer-poets whose music is earthy, and reflects on the infinite amid quotidian contexts of work and love. They have also been influenced by Hindu tantric sect of the Kartabhajas and also by Sufi sects. Bauls travel in search of the internal ideal, Maner Manush (Man of the Heart).
Bhangra
Bhangra are a lively form of music and dance that originated in the Punjab region to celebrate Vaisakhi, the festival of the Sikhs. As many Bhangra lyrics reflect the long and often tumultuous history of the Punjab, knowledge of Punjabi history offers important insights into the meaning of the music. While Bhangra began as a part of harvest festival celebrations, it eventually became a part of such diverse occasions as weddings and New Year celebrations. Moreover, during the last thirty years, Bhangra has enjoyed a surge in popularity worldwide, both in traditional form and as a fusion with genres such as hip-hop, house, and reggae, and in such forms it has become a pop sensation in the United Kingdom and North America.
Dandiya
Dandiya is a form of dance-oriented folk music that has also been adapted for pop music. The present musical style is derived from the traditional musical accompaniment to the folk dance. It is practised in (mainly) the state of Gujrat. Actually Dandiya is a kind of dance rather than a music, the music is called a Garba in local language.
Ganasangeet
Ganasangeet is generally sung in chorus carrying some social message. The songs are usually about Freedom, community strength, patriotism. Due to the British occupation in India, a lot of protest songs about anti-imperialism/pro-socialism has been written in India. Examples: Apni Azadi Ko Hum Hargis Mita Sakte Nahin, ajadee hoyni tor, Kadam kadam badhaye jaa, Vande Mataram, etc.
Haryanavi Music
The folk Music of Haryana has been spread by the Bhats, Saangis and Jogis. It is sung and played in the state of Haryana, parts of western UP and neighboring districts of Rajasthan and Punjab. The tradition of music in Haryana goes back to the Vedic times, and it is the only state in India to have towns and villages named after different ragas.
Haryana is rich in folk music, whose roots are firmly entrenched in the classical music of yore. The famous Sringar rasa (based on love songs) has an indirect association with renowned ragas like Bhairavi, Jayjaywanti, Gara (a Persian style), Khamaj and Kafi. However, the folk singer has no idea what a raga is and just goes out and sings.
Mainly string instruments are used to make music. The sarangi is generally preferred. For the wind instruments, the been and the bansuri provide lilting tunes in tandem with the dholak, a drum usually played with the palms or little sticks. A matka (earthen pitcher) may replace the dholak in certain areas to form the backbeat. The Jogis, Bhats and Sangis are the people who have made folk music popular in Haryana. The Jogis prefer the sarangi to form the musical backdrop to their songs which revolve around tales of chivalry and valour.
There are other famous instruments which are used along with singing. The shehnai (a flute-like instrument played mainly at weddings), shankh (conch shell), harmonium, damru (a small palm-held drum with strings attached to beads which hit the sides when shaken), nagara, ghungru, tasha, khanjri and manjira. Musical genuises, these Haryanavis; they create music even with matchsticks, papaya (yes, the fruit!), the hard core of a mango and a strip of wood.
Lavani
Lavani comes from the word Lavanya which means beauty. This is one of the most popular forms of dance and music that is practiced all over Maharashtra. It has in fact become a necessary part of the Maharashtrian folk dance performances. Traditionally, the songs are sung by female artistes, but male artistes may occasionally sing Lavanis. The dance format associated with Lavani is known as Tamasha. Lavani is a combination of traditional song and dance, which particularly performed to the enchanting beats of 'Dholak', an drum like instrument. Dance performed by attractive women wearing nine-yard saris. They are sung in a quick tempo. The verve, the enthusiasm, the rhythm and above all the very beat of India finds an expressive declaration amidst the folk music of India, which has somewhat, redefined the term "bliss". Lavani originated in the arid region of Maharashtra and Madhya Pradesh.
Popular music
The biggest form of Indian popular music is filmi, or songs from Indian films, it makes up 72% of the music sales in India. The film industry of India supported music by according reverence to classical music while utilizing the western orchestration to support Indian melodies. Music composers like Naushad, C. Ramchandra, S D Batish, Salil Chowdhury, S. D. Burman, Ilaiyaraja and A. R. Rahman employed the principles of harmony while retaining classical and folk flavor. Reputed names in the domain of Indian classical music like Pt. Ravi Shankar, Ustad Vilayat Khan, Ustad Ali Akbar Khan and Pt. Ramnarayan have also composed music for films. Independent pop acts such as Asha Bhosle, Udit Narayan, Alisha Chinai, Shaan, Madhushree, Shreya Ghoshal, Nihira Joshi, Kavita Krishnamurthy, Sonu Nigam, Sukhwinder Singh, Kunal Ganjawala, Sunidhi Chauhan, Alka Yagnik and rock bands like Indus Creed, Indian Ocean, and Euphoria exist and have gained mass appeal with the advent of cable music television. Recently one of the classical band Indian Ocean gave music in one of the movie called Pepli Live, which will be official entry for Oscars from India.
Qawwali
Qawwali is a Sufi form of devotional music based on the principles of classical music. It is performed with one or two or many lead singers, several chorus singers, harmonium, tabla, and dholak. Nowadays there are two many Sufi singers that are singing songs in movie songs. But one of the best Sufi singer is Rahat Fateh Ali Khan.
Rabindra Sangeet
Rabindranath Tagore was a towering figure in Indian music. Writing in Bengali, he created a library of over 2,000 songs now known by Bengalis as 'rabindra sangeet' whose form is primarily influenced by Hindustani classical, sub-classicals, Karnatic, western, bauls, bhatiyali and different folk songs of India. Many singers in West Bengal and Bangladesh base their entire careers on the singing of Tagore musical masterpieces. The national anthem of India and national anthem of Bangladesh are Rabindra Sangeets.
Rajasthan
Rajasthan has a very diverse cultural collection of musician castes, including Langas, Sapera, Bhopa, Jogi and Manganiyar (lit. the ones who ask/beg). Rajasthan Diary quotes it as a soulful, full-throated music with Harmonious diversity. The haunting melody of Rajasthan evokes from a variety of delightfully primitive looking instruments. The stringed variety include the Sarangi, Rawanhattha, Kamayacha, Morsing and Ektara. Percussion instruments come in all shapes and sizes from the huge Nagaras and Dhols to the tiny Damrus. The Daf and Chang are a big favourite of Holi (the festival of colours) revellers. Flutes and bagpipers come in local flavours such as Shehnai, Poongi, Algoza, Tarpi, Been and Bankia.
The essence of Rajasthani music is derived from the creative symphony of string instruments, percussion instruments and wind instruments accompanied by melodious renditions of folk singers. It enjoys a respectable presence in Bollywood music as well.
Hindustani music is an Indian classical music tradition that goes back to Vedic times around 1000 BC, and further developed circa the 13th and 14th centuries AD with Persian influences and from existing religious and folk music. The practice of singing based on notes was popular even from the Vedic times where the hymns in Sama Veda, a sacred text, was sung as Samagana and not chanted. Developing a strong and diverse tradition over several centuries, it has contemporary traditions established primarily in India but also in Pakistan and Bangladesh. In contrast to Carnatic music, the other main Indian classical music tradition originating from the South, Hindustani music was not only influenced by ancient Hindu musical traditions, historical Vedic philosophy and native Indian sounds but also enriched by the Persian performance practices of the Mughal era|Mughals. Besides pure classical, there are also several semi-classical forms such as thumri, Dadra and tappa.
Carnatic music
The present form of Carnatic music is based on historical developments that can be traced to the 15th - 16th centuries AD and thereafter. From the ancient Sanskrit works available, and the epigraphical evidence, the history of classical musical traditions can be traced back about 2500 years. "Carnatic" in sanskrit means "soothing to ears". Carnatic music is completely Melodic music|melodic, with improvised variations. The main emphasis is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as gāyaki. Like Hindustani music, Carnatic music rests on two main elements: IAST|[[raga|rāga', the [[musical modemodes or melodic formulæ, and IAST|tala musictāḷa, the rhythmic cycles.
Purandara Dasa is credited with having founded today's Carnatic Music. He systematized the teaching method by framing a series of graded lessons such as swaravalis, janta swaras, alankaras, lakshana geetas, prabandhas, ugabhogas, thattu varase, geetha, sooladis and kritis. He introduced the Mayamalavagowla as the basic scale for music instruction. These are followed by teachers and students of Carnatic music even today. Another of his important contributions was the fusion of bhava, raga and laya in his compositions.
Purandara Dasa was the first composer who started commenting on the daily life of the people in compositions. He incorporated in his songs popular folk language and introduced folk ragas in the mainstream. The most important contribution he made was the fusion of bhava, raga and laya into organic units.
He also composed a large number of lakshya and lakshana geetas, many of which are sung to this day. His sooladis exhibit his mastery of the techniques of music, and are considered an authority for raga lakshana. Scholars attribute the standardization of varna mettus entirely to Purandaradasa.
Purandaradasa's era was probably the beginning of Carnatic music's movement towards krithi based classical music (one of its distinguishing characteristics compared to Hindustani). The peripatetic dasas who followed him are believed to have followed the systems he devised, as well as orally passing down his compositions.
Purandaradasa was a performer, a musicologist and the father of Carnatic musical pedagogy. He is credited with having elevated Carnatic music from religious and devotional music into the realm of a performing art. For all these reasons and the enormous influence that he had on Carnatic music, musicologists call him the "Sangeeta Pitamaha" or the grandfather of Carnatic music.
Many songs and poems and ballads supported in carnatic music are written by poets all the way back to the 14th century. Thyagaraja, Annamacharya and Bhadrachala Ramadasu have written in Telugu and most of the melodious songs from carnatic music we listen today belong to one of them. There are multiple tamil and sanskrit lyrics as well which are sung in carnatic version.
Folk music
A pair of Indian folk musicians performing in a rural village
Main article: Indian folk music
Bauls
The Bauls of Bengal are an order of musicians dating back to the 17th century, who play a form of Vaishnava music using a khamak, ektara and dotara. The word Baul comes from Sanskrit batul meaning divinely inspired insanity. They are a group of mystic minstrels with a syncretic form of Vaishnavism influenced by Sufism and Buddhism. They are itinerant singer-poets whose music is earthy, and reflects on the infinite amid quotidian contexts of work and love. They have also been influenced by Hindu tantric sect of the Kartabhajas and also by Sufi sects. Bauls travel in search of the internal ideal, Maner Manush (Man of the Heart).
Bhangra
Bhangra are a lively form of music and dance that originated in the Punjab region to celebrate Vaisakhi, the festival of the Sikhs. As many Bhangra lyrics reflect the long and often tumultuous history of the Punjab, knowledge of Punjabi history offers important insights into the meaning of the music. While Bhangra began as a part of harvest festival celebrations, it eventually became a part of such diverse occasions as weddings and New Year celebrations. Moreover, during the last thirty years, Bhangra has enjoyed a surge in popularity worldwide, both in traditional form and as a fusion with genres such as hip-hop, house, and reggae, and in such forms it has become a pop sensation in the United Kingdom and North America.
Dandiya
Dandiya is a form of dance-oriented folk music that has also been adapted for pop music. The present musical style is derived from the traditional musical accompaniment to the folk dance. It is practised in (mainly) the state of Gujrat. Actually Dandiya is a kind of dance rather than a music, the music is called a Garba in local language.
Ganasangeet
Ganasangeet is generally sung in chorus carrying some social message. The songs are usually about Freedom, community strength, patriotism. Due to the British occupation in India, a lot of protest songs about anti-imperialism/pro-socialism has been written in India. Examples: Apni Azadi Ko Hum Hargis Mita Sakte Nahin, ajadee hoyni tor, Kadam kadam badhaye jaa, Vande Mataram, etc.
Haryanavi Music
The folk Music of Haryana has been spread by the Bhats, Saangis and Jogis. It is sung and played in the state of Haryana, parts of western UP and neighboring districts of Rajasthan and Punjab. The tradition of music in Haryana goes back to the Vedic times, and it is the only state in India to have towns and villages named after different ragas.
Haryana is rich in folk music, whose roots are firmly entrenched in the classical music of yore. The famous Sringar rasa (based on love songs) has an indirect association with renowned ragas like Bhairavi, Jayjaywanti, Gara (a Persian style), Khamaj and Kafi. However, the folk singer has no idea what a raga is and just goes out and sings.
Mainly string instruments are used to make music. The sarangi is generally preferred. For the wind instruments, the been and the bansuri provide lilting tunes in tandem with the dholak, a drum usually played with the palms or little sticks. A matka (earthen pitcher) may replace the dholak in certain areas to form the backbeat. The Jogis, Bhats and Sangis are the people who have made folk music popular in Haryana. The Jogis prefer the sarangi to form the musical backdrop to their songs which revolve around tales of chivalry and valour.
There are other famous instruments which are used along with singing. The shehnai (a flute-like instrument played mainly at weddings), shankh (conch shell), harmonium, damru (a small palm-held drum with strings attached to beads which hit the sides when shaken), nagara, ghungru, tasha, khanjri and manjira. Musical genuises, these Haryanavis; they create music even with matchsticks, papaya (yes, the fruit!), the hard core of a mango and a strip of wood.
Lavani
Lavani comes from the word Lavanya which means beauty. This is one of the most popular forms of dance and music that is practiced all over Maharashtra. It has in fact become a necessary part of the Maharashtrian folk dance performances. Traditionally, the songs are sung by female artistes, but male artistes may occasionally sing Lavanis. The dance format associated with Lavani is known as Tamasha. Lavani is a combination of traditional song and dance, which particularly performed to the enchanting beats of 'Dholak', an drum like instrument. Dance performed by attractive women wearing nine-yard saris. They are sung in a quick tempo. The verve, the enthusiasm, the rhythm and above all the very beat of India finds an expressive declaration amidst the folk music of India, which has somewhat, redefined the term "bliss". Lavani originated in the arid region of Maharashtra and Madhya Pradesh.
Popular music
The biggest form of Indian popular music is filmi, or songs from Indian films, it makes up 72% of the music sales in India. The film industry of India supported music by according reverence to classical music while utilizing the western orchestration to support Indian melodies. Music composers like Naushad, C. Ramchandra, S D Batish, Salil Chowdhury, S. D. Burman, Ilaiyaraja and A. R. Rahman employed the principles of harmony while retaining classical and folk flavor. Reputed names in the domain of Indian classical music like Pt. Ravi Shankar, Ustad Vilayat Khan, Ustad Ali Akbar Khan and Pt. Ramnarayan have also composed music for films. Independent pop acts such as Asha Bhosle, Udit Narayan, Alisha Chinai, Shaan, Madhushree, Shreya Ghoshal, Nihira Joshi, Kavita Krishnamurthy, Sonu Nigam, Sukhwinder Singh, Kunal Ganjawala, Sunidhi Chauhan, Alka Yagnik and rock bands like Indus Creed, Indian Ocean, and Euphoria exist and have gained mass appeal with the advent of cable music television. Recently one of the classical band Indian Ocean gave music in one of the movie called Pepli Live, which will be official entry for Oscars from India.
Qawwali
Qawwali is a Sufi form of devotional music based on the principles of classical music. It is performed with one or two or many lead singers, several chorus singers, harmonium, tabla, and dholak. Nowadays there are two many Sufi singers that are singing songs in movie songs. But one of the best Sufi singer is Rahat Fateh Ali Khan.
Rabindra Sangeet
Rabindranath Tagore was a towering figure in Indian music. Writing in Bengali, he created a library of over 2,000 songs now known by Bengalis as 'rabindra sangeet' whose form is primarily influenced by Hindustani classical, sub-classicals, Karnatic, western, bauls, bhatiyali and different folk songs of India. Many singers in West Bengal and Bangladesh base their entire careers on the singing of Tagore musical masterpieces. The national anthem of India and national anthem of Bangladesh are Rabindra Sangeets.
Rajasthan
Rajasthan has a very diverse cultural collection of musician castes, including Langas, Sapera, Bhopa, Jogi and Manganiyar (lit. the ones who ask/beg). Rajasthan Diary quotes it as a soulful, full-throated music with Harmonious diversity. The haunting melody of Rajasthan evokes from a variety of delightfully primitive looking instruments. The stringed variety include the Sarangi, Rawanhattha, Kamayacha, Morsing and Ektara. Percussion instruments come in all shapes and sizes from the huge Nagaras and Dhols to the tiny Damrus. The Daf and Chang are a big favourite of Holi (the festival of colours) revellers. Flutes and bagpipers come in local flavours such as Shehnai, Poongi, Algoza, Tarpi, Been and Bankia.
The essence of Rajasthani music is derived from the creative symphony of string instruments, percussion instruments and wind instruments accompanied by melodious renditions of folk singers. It enjoys a respectable presence in Bollywood music as well.
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). In addition to these traditional five classes we have been forced to create a sixth class to accommodate purely electronic instruments.
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). In addition to these traditional five classes we have been forced to create a sixth class to accommodate purely electronic 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.
Andelu
The andelu (a.k.a. andellu) is a ubiquitous
component of the folk music / storytelling art known as "Burra
Katha". For this, the main story teller usually plays a burakatha vina in
the right hand, while the left hand plays the andelu.
Ther are several techniques for playing the andelu. One method has a ring of the andellu sliped over the thumb of the left hand, while the other ring is on one or more of the other fingers. They are then struck together to provide rhythmic accompaniment. another common technique is to slip both rings of the andellu over the thumb of the left hand and strike them with the fingers.
The construction of the andelu is quite simple. It is a pair of toroids of brass that are about one-and-half to 2 inches in diameter. It is hollow, yet split around the rim. Inside the hollowed out portion are a number of metal balls that rattle and ring to give a "jingle bell" like sound.
Within the folk economies, the andelu are often used with the bullock carts to provide a hypnotic "ching, ching, ching", sound to keep the bullocks pacified, and less susceptible to being spooked by outside noises.
Ther are several techniques for playing the andelu. One method has a ring of the andellu sliped over the thumb of the left hand, while the other ring is on one or more of the other fingers. They are then struck together to provide rhythmic accompaniment. another common technique is to slip both rings of the andellu over the thumb of the left hand and strike them with the fingers.
The construction of the andelu is quite simple. It is a pair of toroids of brass that are about one-and-half to 2 inches in diameter. It is hollow, yet split around the rim. Inside the hollowed out portion are a number of metal balls that rattle and ring to give a "jingle bell" like sound.
Within the folk economies, the andelu are often used with the bullock carts to provide a hypnotic "ching, ching, ching", sound to keep the bullocks pacified, and less susceptible to being spooked by outside noises.
CHIMPTA (CHIMTA)
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.
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.
Ghungharur
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.
GOL KATHI
The gol kathi is a stick used by dancers to beat
out the time. It is simply a long stick that has jingles mounted on the top. It
is used by the Kukna, Warli, and Bhil tribes of western India.
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.
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.
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.
KASHT
TARANG
Kasht tarang is a type of xylophone or
marimba used in India. It is also called "kashth tharang". It is
characterized by the use of wooden resonating bars. Unlike a xylophone, it has
no resonating chambers. This instrument is not very common.
MANJIRA
Manjira is known by many names. It is also called
jhanj, tala, mondira, (small size) kafi (large size), or a host of other names.
It is basically a set of small cymbals. It is a ubiquitous component of dance
music and bhajans. It is a very ancient instrument; examples may be seen on temple
walls going back to the earliest of times. They are usually made of brass.
NOUT
The nout (a.k.a. Nuht), is a small pot used in
Kashmir as a percussion instrument. It may be thought of as a north Indian
ghatam.
MURCHANG
Murchang is a Jew's harp. It is variously called,
mursang, morchang, morsang, or moorsang. It is commonly played in south Indian
performances along with the ghatam and the mridangam.
Blown Air (Sushir)
This class of instrument is characterized by
the use of air to excite the various resonators.
BANSURI AND VENU
Bansuri and venu are common Indian flutes.
They are typically made of bamboo or reed. There are two varieties;
transverse and fipple. The transverse variety is nothing more than a
length of bamboo with holes cut into it. This is the preferred flute for
classical music because the embouchure gives added flexibility and
control. The fipple variety is found in the folk and filmi styles, but seldom used for serious music.
This is usually considered to be just a toy because the absence of any embouchure
limits the flexibility of the instrument. The flute may be called many things
in India: bansi, bansuri, murali, venu and many
more.
There are two main types; bansuri and venu.
The bansuri is used in the North Indian system. It typically has six holes, however
there has been a tendency in recent years to use seven holes for added
flexibility and correctness of pitch in the higher registers. It was previously associated only with folk music, but today it is found in Hindustani classical, filmi, and numerous other genre. Venu is the
south Indian flute and is used in the Carnatic system. It typically has eight holes.
The venu is very popular in all south Indian styles.Cultural and Religious Significance
The
bansuri is not just a musical instrument, because it has a great cultural
and religious significance among Hindus. It is an instrument associated
with Lord Krishna. Numerous common names reflect these epitaphs of
Krishna. Common examples are: Venugopal, Bansilal, Murali,
Muralidhar, etc. Furthermore, in traditional Indian metaphysics, it
is noted how remarkable it is the way the life force (pran, or literally
"breath") is converted into a musical resonance (sur).
Parts of the Bansuri
We will now take a closer look at the north Indian Bansuri. It is always difficult to talk about the names for the various parts of the instrument because India is a land of many languages and dialects; therefore the following terms should be considered as representative but not universal.
Dandi - The dandi is the body of the bansuri. Bansuris
may be fashioned from a variety of materials, but reeds, canes and bamboo are
the most common. Ideally they should be constructed so that they taper
towards the embouchure (mouth hole or mukharandra). They are
therefore larger at the open end. This arrangement gives an extend range.
Mukha Randhra - This is the embouchure, or the
blowing hole. professional quality bansuris in India are
invariably of the transverse variety. However, there are also a number of
fipple flutes which are also available. These are sometimes found among
folk musicians and they are frequently given to children as toys. The
transverse variety yields much better control by allowing blowing techniques to
bend the notes to the desired pitches.
Swar Randhra - These are the finger holes.
They are the holes that are used to play the melodies. For a 7-hole flute
as shown in the side picture, the musical intervals are: half-step, whole-step,
whole-step, half-step, whole-step, whole-step, whole-step. (Please note
that these are approximations; the use of equal-temperament is not to be
construed from this discussion.) The 7th hole (closest to the open end)
is optional. When it is absent, the 6-hole flutes are tuned to:
whole-step, whole-step, half-step, whole-step, whole-step, whole-step.
This 7th hole deserves special mention.
Traditional north Indian folk flutes generally do not have it. The
obvious advantage is that the presence of this hole extends the range of the
instrument by one note. However, there is a more important and not quite
so obvious advantage. Its presence gives the bansuri a more
accurate pitch when overblown to produce the higher octaves.
Garbha Randhra - This is the opening of the bansuri.
It should remain unoccluded at all times
Rassi - The body of the bansuri tends to crack. This is
simply one of the undesirable qualities of bamboo and reed. This cracking
may be reduced or eliminated by tightly binding the body with twine. This
is known as rassi. One trick used by craftsmen to assure an even
and reproducible tension is to tie a fixed weight to the end of the string and
slowly turn the body of the bansuri to wrap the twine around it.
Technique of the Bansuri
The fingering position is shown in the accompanying
photograph. Please note that the tips of the fingers are not used.
Instead, it is the flat portion of the fingers, roughly an inch in from the
tips that are used. This gives much more control when playing the
half-holes (e.g., ornaments, flat notes
BOMBASHI
(BOMMBANSHI)
The
bommbanshi or Bombashi is a fipple flute found in
Bangladesh. It is used in a variety of folk music, such as the vaoiaya (bhawaia) and the accompaniment of traditional
folk theatre. This special type of flute is a necessary accompaniment for
a local folk theatre "Poddopuran". In folk-theatre Poddopuran
the flute bommbanshi is an important musical instrument.
This instrument does not have a wide
distribution. Where some instruments may be found throughout south Asia,
the bombashi is found only in the Dharla (A.K.A. Dhorla, Dhola) river
basin area of Bangladesh. At the time of writing (2007), a total of only
seven Bommbanshi players could be found in this region.RELIGIOUS AND SOCIAL SIGNIFICANCE
This
instrument has a strong social and religious significance.
The social significance is derived from its
association with the Poddopuran folk theatre. In this form of
theatre, it along with the khol and mondira (a.k.a. Pena), are indispensable in providing the musical
accompaniment. This theatre is an important way in which the people of
Dharla River basin maintain a sense of cultural identity.The religious significance is seen in this flute's connection with the Hindu Goddess Monosha (a.k.a. Manasha). The traditional Poddopuran theatre is based on "Monosha" who is the snake goddess, appears to be a entrant into the ever assimilating pantheon of Hindu religion. (She is non Aryans' goddess). She is not mentioned in the Mahabharata, and the principal older purans. But she occupies considerable space in the Brahmavaivartapurana, a comparatively later work, the compilation of which continued till about the 16th century C.E. (ref. R. C. Hazra, Studies in the Puranic records on Hindu Rites and Customs, Dacca, 1940, p.166 and Brahmavaivartapurana, ed. and tr. by P. Tarkaratna, Calcutta, 1904, Prakrikhadam, 1.68.).
CONSTRUCTION
The
construction of the Bombashi is rather simple. It is made of a
body of bamboo with a detachable round mouthpiece
Body - The body is a length of bamboo that has an opening for the
fipple and a number of holes. Body length is about 32 - 36 cm., body
radius is about 9 - 11cm. Its one side is open and the other side is
closed like any simple bamboo flute or bansuri(banshi).
There are eight holes burned into the bamboo.
There is one hole for blowing, this is the sound hole known as the Mukhkho
rondhro (Literally "mouth hole"). This is also known in the
local Rajbangsi dialect as the "fuker chanda".
There are also seven finger holes. These are known as "shorrondhro".
They are also referred to as "surer chanda" ("sur"
means melody, "er" means of, "chanda" means
hole).As with other fipple flutes, the fashioning of the fipple is critical. The closed side radius is slightly narrowed down with a knife by about 1 cm. Here the mouthpiece is fitted over it. Actually tuning technique depends on how you fit the Shama and how much you cover the hole area of Mukhkho rondhro (fuker chanda).
The body of the bombashi is made from bamboo. They call it here "Bomm-Bashi" that is big flute, made of bamboo. This is to distinguish it from other flutes which are made from Benu- bansh or Tollah-bansh. The bombashi is made of "Maklabansh" a tougher bamboo of the Dharla (Dhorla) river basin.
Mouth-Piece - The most striking part of the Bambashi
is the large torodal mouthpiece; this is known as the "shama".
It is interesting to note that where most fipple flutes have an internal plug,
the Bombashi relies upon the external Shama to complete its
construction. The internal obstuction is the natural node of the bamboo.
The shama is fitted over the main body, and
placed over the mukhkho rondhro (mouth hole) to cover a portion of
it. As with other fipple flutes, the shama is adjusted in such a
way that the air oscillates between going into, and out of the body of the
flute. This shama or air controller device is adjustable.
Adjusting the space of mukhkho rondhro by the mouthpiece allows for some
adjustment in the overall pitch of the instrument.The inner whole of the mothpiece is known as the shor-rondhro. Its diameter is 0.9 CM to 1 CM. The width of the mouthpiece is approximately 1.5CM. The mouthpiece's outer radius is about 19 - 20 CM., the inner diameter is 2.5 CM.
Playing:
The flute is played in the manner shown
above. The shama covers the whole mouth area. Unlike the
transverse flute, the bombashi, like all other fipple flutes may be
played without interruption. For this the musician simply needs to breath
in through nose and blow through the mouth.
HARMONIUM
Although this is a European invention, it has evolved into a truly bi-cultural instrument. The keyboard is European, but it has a number of drone reeds which are particularly Indian. European models came in both hand pumped and foot pumped models. The foot pumped models disappeared in India many years ago. This is because the foot pedals required one to sit in a chair; something which is unusual for an Indian musician. Also the only advantage of the foot model was that it freed both hands so that both melody and chords could be played. Indian music has no chords, so this was no advantage. Although the hand pumped models required one hand to pump they were more portable and comfortable when played on the floor.
There is an instrument which is very similar to the harmonium, but it has no keys. It therefore, is incapable of playing a melody and must merely play a drone. This is called a surpeti.
Parts of Harmonium
There
are a number of parts of the harmonium, here are some of the main one
Body - The body is the box that houses the various parts of the
harmonium. There are two basic styles. One style is simply a box
with everything in a fixed position (see above illustration). Another
style collapses down into a suitcase style of enclosure. There are
several collapsible styles; one is shown in the right hand illustration.
Bellows - The bellows are the pumps which force the air through the
instrument. There are really two sets of bellows, one internal and one
external. The external bellows are pumped by hand; these are familiar to
the average player. The external bellows then forces the air into the
internal bellows. The internal bellows act as a reservoir for the
air. These bellows lay deep inside the instrument and are visible only by
disassembling the instrument. The internal bellows push against a spring;
it is this spring which forces the air over the reeds.
Keys - The keys, known in India as "chabi", are the
small wooden controls that the performer fingers to play the music. There
are black keys and white keys. Although the keyboard is reminiscent of
the keyboards found on pianos and other Western instruments, the international
standard for pitch (i.e., A=440) has not been adopted.
Cover - The cover is a small piece of wood, sometimes with cloth or
glass, which covers the workings of the harmonium. It serves two
functions. The most important is to protect the workings against
damage. It also changes the sound by muting the higher frequencies while
allowing the lower frequencies to pass. Sometimes the cover has a sliding
panel which makes this muting action adjustable.
Stops (main) - The main stops are a series of
valves which control the way that air flows in the instrument. The main
stops control the air flowing into the various reed chambers. There are
usually a minimum of one stop per reed chamber; however it is not unusual to
find more than one per chamber. Although these extra stops may control
special functions, such as tremolo, it is not unusual to find a redundant stops
with no special function. This reflects the tendency of Indian musicians
to simply open up all the stops, regardless of the function.
Stops (drone) - The drone strops are the most
distinguishing feature of Indian harmoniums. These stops control the flow
of air over un-keyed reeds. They simply drone their particular
pitch. There may be any number of drones set to any pitch; however they
tend toward, A sharp, C sharp, D sharp, F sharp, and G sharp.
Handles - The handles allow for easy transport of the harmonium. In
a box type, there are two handles on the sides. In a suitcase style,
there is only a single handle.
Reeds (not shown) - The reeds a series of brass reeds
set into a heavier brass base. Each base is roughly 1/4 inch by 2
inches. There must be a minimum of one reed per key while two or three
are the most common. These small brass reeds vibrate whenever air passes
over them.
Coupler (not shown) - A coupler is a mechanical
arrangement whereby another key is played along with the one being
fingered. Normally it is the key located an octave below the selected
key. This arrangement produces a much richer sound than an uncoupled
keyboard. This coupling may be enabled or defeated by the user.
Scale Changer (not shown) - Scale changer is an elaborate
mechanical arrangement whereby the entire keyboard may be shifted up or
down. This allows a musician to transpose the performance into any key
without having to learn new fingerings. WARNING
- Do not buy a scale changing harmonium. The failure rate is
unacceptable!
Reed Board (not shown) - The reed board is a flat piece of
wood with a series of long holes cut in them. There are a series of brass
reeds covering these holes. These reeds are arranged in banks. If
there are two banks of reeds, it is said to be a double-reed harmonium.
If there are three banks of reeds, it is said to be a triple-reed
harmonium. The triple-reed harmonium is generally considered to be
superior to the double-reed variety. Sometimes this board is not flat,
but instead has the reeds set into perpendicular baffles. This style is
said to produce a better sound.
Sitting positions
The position is reversed for left handed musicians. In such cases the right hand pumps the bellows while the left hand plays the melody.
The harmonium may also be played standing and walking. In this case the harmonium is slung by a strap around the neck. This however, seems to be limited to beggars that one may occasionally encounter.
MUKHAVINA - SMALL NADASWARAM
NADASWARAM, NADHASWARAM OR NAGASWARAM
Nadaswaram is
a South Indian version of the shehnai. It is also called nagaswaram.
It is substantially larger than the shehnai and has a simple double reed rather than the more
complex quadruple reed. It is considered a very auspicious instrument and
is found at temples and at weddings. It is normally accompanied by a sur peti, ottu, and a tavil. There is a smaller version of the nadaswaram
which is played in folk music and is known mukhavina.
OTTU (SOUTH INDIAN DRONE INSTRUMENT)
The ottu is a south Indian drone instrument. It is
very similar to the nadaswaram or the shehnai in construction. It is usually
somewhat longer than the nadaswaram. It has a bell, usually of metal like the
shehnai. It has four or five holes, which are not fingered but merely occluded
with wax to bring the instrument to the correct pitch (shruti). This instrument
does not play a melody, but merely provides the drone for temple ensembles
composed of nadaswaram and tavil.
PUNGI
OR BIN
Pungi or Bin is the snake charmer's instrument.
The word "Bin" has always been somewhat problematic. The term "bin" is a very common corruption of the Sanskrit word "Vina". However the term bin/ vina implies a stringed instrument. It is more likely that the term "Bin" is a corruption of the Sanskrit "Venu" (i.e., bamboo) which would clearly place this instrument in the class shared by flutes.
The word "Bin" has always been somewhat problematic. The term "bin" is a very common corruption of the Sanskrit word "Vina". However the term bin/ vina implies a stringed instrument. It is more likely that the term "Bin" is a corruption of the Sanskrit "Venu" (i.e., bamboo) which would clearly place this instrument in the class shared by flutes.
SHANKH
Shankh is a conch shell. This instrument has
a strong association with the Hindu religion. It is said that when it is
blown it announces the victory of good over evil. This instrument has
limited musical applications.
SHEHNAI
The shehnai is a north Indian oboe. Although it is
referred to as a double-reeded instrument it is actually a quadruple-reed instrument.
This is because it has two upper reeds and two lower reeds. The instrument has
a wooden body with a brass bell. The reed is attached to a brass tube which is
wrapped in string. The shehnai has eight holes but it is common to find some of
the holes partially or completely occluded with wax. The sound of the shehnai
is considered particularly auspicious. For this reason it is found in temples
and is an indispensable component of any North Indian wedding. In the past,
shehnai was part of the naubat or traditional ensembles of nine instruments
found at royal courts. This instrument is a close relative of the nadaswaram
found in south Indian music.
SURPETI
Although the surpeti is common throughout India,
their usage differs considerably. Hindustani musicians will regularly use them
in practice but usually would not consider bringing them onto the stage. This
is in contrast to Carnatic musicians who very regularly use them in stage
performances.
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
Bulbul
tarang, also known as the "banjo", is a common instrument in India.
The name bulbul tarang literally translates to "waves of
nightingales". It is made of a number of strings passing over what
resembles a finger board. However, instead of directly fingering the keys, they
are pressed with a series of keys like a piano. Sometimes the keys are similar
to a piano keyboard, but more often they resemble typewriter keys. The
instrument is common for folk musicians and children because of its very low
price.
The origin of the bulbul tarang is interesting. It is an Indian version of the Japanese taisho koto. The first taisho koto was built by Goro Morita in 1912 in Nogoya Japan. The term taisho refers to the second former Japanese emperor; while the term koto refers to it being a stringed instrument. The taisho koto became a very popular instrument in Japan; by 1929 it is estimated that over quarter of a million units were sold. Although it is established that the bulbul tarang is derived from the taisho koto, the obvious question is "what was the situation before that?" There is great reason to believe that the taisho koto is a technical extension of the various pianolins, pianettes, and hurdy gurdies, that were popular in the 19th century.
The origin of the bulbul tarang is interesting. It is an Indian version of the Japanese taisho koto. The first taisho koto was built by Goro Morita in 1912 in Nogoya Japan. The term taisho refers to the second former Japanese emperor; while the term koto refers to it being a stringed instrument. The taisho koto became a very popular instrument in Japan; by 1929 it is estimated that over quarter of a million units were sold. Although it is established that the bulbul tarang is derived from the taisho koto, the obvious question is "what was the situation before that?" There is great reason to believe that the taisho koto is a technical extension of the various pianolins, pianettes, and hurdy gurdies, that were popular in the 19th century.
Tuning the bulbul
tarang is very easy, however we must not forget that there are innumerable
variations in size, number of strings, gauge of strings, etc. Therefore, we
will just go over the general principles and you can work out the details.
The first step is to familiarise yourself with the strings. There are two types of strings; there are the drone strings and the melody strings. The melody strings run directly under the key-plate and are fretted by the keys. The drone strings run beside the key plate and are not fretted. This is illustated below.
The first step is to familiarise yourself with the strings. There are two types of strings; there are the drone strings and the melody strings. The melody strings run directly under the key-plate and are fretted by the keys. The drone strings run beside the key plate and are not fretted. This is illustated below.
DOTAR
Dotar is a two stringed version of the ektar. It is
a simple instrument that provides both rhythmic accompaniment as well as a
drone for folk music. However, in Bengal there is an unrelated instrument also
called dotar which is very similar to the Kabuli rabab.
DOTORA (DOTAR or DOTARA)
The
dotora (a.k.a. dotar, or dotara) is an instrument much
associated with the musical culture of the Bengali people. This
instrument is found throughout West Bengal, Bangladesh, and even Assam, and
Eastern Bihar. This instrument is greatly favoured by the wandering
minstrels known as the Baul. This instrument may be thought of as
a Bengali version of the rabab. Although the name is the same, this
instrument should not be confused with the simple two stringed dotar found through out South Asia.
The origin of the terms "dotar" or
"dotora" are interesting. The word is found in Bengali
(i.e., Bangla Bhasha), which is a member of the Eastern Group of Indo-Aryan
languages (Grierson,1903). The etymology is based upon three components,
Do-Tar-A. In Bengali "do" means "two"; "tar"
means "string"; and the "a" appended to the end
means "of". Therefore, the word dotara, means "of
two strings". Naturally there are regional variations to
pronunciation. Especially note that the term "tar" as
one would find in Hindi and Urdu, acquires the more open Bengali pronunciation
of "tor". Other regional variations are also easily
found. For instance, in the Rangpuri dialect it is pronounced "dotra"
but it is also pronounced "dotora" in Rangpuri's more poetical
forms, (e.g., vaoaiya lyrics.) It is interesting to note that,
although the term "dotora" implies two strings, most
instruments have a minimum of four strings, and even six is not unusual.As with any folk instrument, regional variations in construction abound; however, there are two main styles. In Bangladesh, one of these is found in the north and the other is found in the south. These show several differences in both construction, tone, and usage.
The figure below shows a typical example of the southern version of the dotora. This version is commonly used in a wide variety of Bengali music. Notice the carving at the upper end of the necks, these are usually designs of animals, peacocks or other birds. It is interesting to note that this version is also known as swaraj and surasanggraha, or rahr Bangla.
There is another style of dotora which is not so well known. In Bangladesh, this version of the dotora tends to be found in the tribal areas in the north; but this style is also found in West Bengal, Assam, and Eastern Bihar. This version is shown in the figure below:
We see that there are numerous differences between this style and the more widely known southern version. One should note that this version is less adorned. Also, this style of dotora tends to use strings made of gut or cotton fibre. Furthermore, this version has a wooded fingerboard instead of the metal plate often found in the Southern version. This dotora is much closer to a rabab in both sound and construction. Its sound is generally considered to be more appropriate for the vaoaiya, bhaaiwaiya, jaalpariya, and mahishali styles of music. This type of dotora is also sometimes referred to as a bhhawaiya dotar.
Construction and Parts of the Dotora
It
is appropriate for us to look at the construction of the dotora in
greater detail. The overall form of the dotora is of a resonator
and a neck, a number of pegs and strings, (usually four), and a skin to cover
the resonator. These will be described in greater detail.
Body and Resonator
The
body of the dotora is probably the most important part of the
instrument. It is upon this body that all of the pegs, strings, and
membrane will be attached.
One item to pay particular attention to is the
carving (or lack there-of) at the upper-most portion of the instrument.
This decoration is usually of a bird or animal motif, and it is a ubiquitous
part of the southern style of dotora (swaraj). This is generally
called "mogra". Unlike the southern form, the northern
version does not have any top decoration. One should note that these
days, one is starting to see these animal decorations (mogara) even on
some northern Bangladeshi dotoras.Let us look at the fashioning of the body of the dotora. It is important to remember that although it is fashioned from a single piece of wood, this main body is of at least three sections, and possibly a fourth. These sections are the bati (i.e., the bowl of the resonator), dhor (i.e., the neck), and the muga (i.e., hollow portion for fixing tuning knobs). The optional fourth piece is the decorative piece at thye end (mogra) Let us now look at the fabrication of the body in greater detail.
The first and foremost job in making the body is to start with a suitable piece of wood. This wood is usually of jackfruit, neem, or local chaiton. It should also be of suitable dimensions. This should be two feet long, six inches high, and 6 inches wide. It should be even longer if one is going to allow room for the decorative piece (mogra). The shape is carved and gouged as shown in the accompanying photographs using standard carpentry tools.
Here
are the measurements for the various parts of the body:
Bati - The bati is the bowl, or hollowed out section, which
forms the main portion of the resonator. Its diameter should be roughly
five inches, and the height at the centre should be about 4.5 inches.
There is a fair amount of latitude concerning the shape. It does not have
to be round, a certain elliptical quality is quite acceptable. But, one
should not neglect to leave a protrusion at the base of this resonator; this
will be used to attach the strings.
Dhor - This is the neck. Its length is 17 - 18 inches. The
width at the base of the resonator (i.e., the bati) is around 2.5
inches. Height of the neck (i.e., the dhor) and the length is up
to the artist's individual preference. Every musician has a particular
"feel" that they like.
Muga - This is the peg box. It is the hollow section where the
tuning pegs connect. The overall length should be about four inches; the
width should be about two inches and it should be whatever depth that will
allow a comfortable placement for the tuning pegs. One should leave
several inches from the top end of peg box (opposite side of resonator end) to
put whatever decorative headpiece one may desire. The muga (peg
box) must then be hollowed out to forma rectangular opening. This opening
is known as the "mugastan" (literally "the place of muga").
Mogra - If one is making a southern style of dotora, then
allowance must be made for the decorative piece at the end (mogra).
This is basically an artistic call. One may allow for anywhere from one
or two inches up to eight inches depending upon how fancy one wishes to
be. Themes of birds and animals is the norm, but by no means is it
obligatory.
The carving of the wood for the main body is now
finished. However, the body is not finished until the membrane is
attached.
Chauni - The chauni is the membane that covers the bati.
The attachment of this skin is performed as follows:
The skin of a large lizard, or the rawhide of a
young goat is first soaked in water until it is very soft. It is said
that Iguana skin gives the best sound. It is then bound to the lip of the
resonator and glued in place. After the glue has set and the membrane
dried, any excess is cut away. This membrane on the dotora is
known as "chauni".Sound holes are now burned into the skin. If one attempts to cut these holes instead of burning, there is a tendency for them to tear. These sound holes are known as "chad".
At
this point, the body may be painted according to ones preference.
Face Plate - If one is making a southern style of
dotora, then there is a good likelihood that you will be wanting to put
a metal faceplate on. This faceplate is often used because the southern
style of dotora uses metal strings, and the constant fingering of
metallic strings against a wooden fingerboard tends to ruin the
fingerboard. The highest quality dotoras tend to use a nickel or
chrome plated brass. Ordinary sheet metal may be used for lower quality
instruments.
A surprising addition to the instrument makers
craft is the use of laminates (i.e.,. Decolam, Formica, Arborite, Alpikord,
etc). In the last few years this has emerged as a workable and economical
alternative to the metal fingerboard. This tends to be found only on
extremely inexpensive southern styled dotoras.The method of attaching the faceplate depends upon what material is being used. Metallic faceplates tend to be attached with screws. This allows the plates to be removed to facilitate the reskining of the dotora which must be performed periodically. The inexpensive "decolam" versions have the plate fixed with contact adhesive.
The
main body is now finished.
Om
Tat Sat
(Continued...)
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