Sarangi

The sarangi is such an instrument that possibly has experienced every kind of hostile and smooth atmosphere to finally see the brilliant light of the day. 

Sarangi has its origin in the initial folk instruments of Rajasthan or the ones the Sindhis used to play. Traditionally, the name suggests a hundred hues of tonal colours. It is an extremely diversified instrument, closely resembling the human voice. This character makes the instrument a favourite of the now-a-days sarangi concerts. However, it had a hard time to compete with the rather illustrious instruments like sitar or sarod. So much so that, during the 19th century, when thumri was at its peak, the sarangi and its players were just basely associated with the nautch girls and the kothas. 

Additionally, the primary playing strings were made of animal gut, which meant that aristocratic Hindus would never touch it. The sarangi is much hefty looking and it does not possess any frets. The player requires sitting in a special synchronized position to play it with ease. 

Among all the bowed North Indian instruments, it is the sarangi that comes closest to the human voice. Instruments resembling the sarangi can be found among several tribes, local groups and communities in the country. 

The Ravanahatta veena, a kind of folk fiddle, used in Rajasthan is one that is played with its sound box facing the body of the player, unlike the sarangi whose sound box faces downwards. Most scholars` hold that the sarangi originated from folk fiddles, like the kamaicha or the Sindhi sarangi, prevalent in Rajasthan and other parts of North-Western India. 

The Langa and Manganiya communities of traditional musicians of Rajasthan use folk versions of sarangi to this day. The skin used to cover the sound box of the sarangi was that of the spotted deer or the saranga as it is called in Sanskrit. Some musicians and sarangi players suggest that there is a pun on the word sarangi as it also suggests saurangi or 100 spotted or tonal colours. 

As an instrument, the sarangi is somewhat ungainly looking compared to the elegant and sleek sitar or sarod. Its design and structure are not as standardized as several other instruments. Variations do exist. Yet structurally, it comprises of the deep-set belly (peth), the narrowed neck (chhathi) and the head (magaj). These parts are all made from one single hollowed piece of wood, usually the tun. 

The sound box or the body is covered with the skin of a young goat. The main playing strings, which are three in number corresponding to the low, middle and high octaves are made of animal gut; there is also a fourth sympathetic string made of brass. It also has as many as 35 to 40 metallic sympathetic strings running below the main playing strings. These are tuned using elaborate sets of wooden tunets placed on the side of the instrument. They are divided into 4 different "choirs". On the lowest level are a diatonic row of 9 tarabs and a chromatic row of 15 tarabs, each encompassing a full octave plus 1-3 extra notes above or below. 

Between these lower tarabs and the main playing strings are two more sets of longer tarabs, which pass over a small flat ivory bridge at the top of the instrument. Being a fretless instrument, the player uses the base of his nail and finger tip of his left hand to stop the sound while bowing the instrument, using a horsehair bow or gaz with his right hand. 

While playing, the player places the belly of the instrument on the floor or between the feet and the upper end rests on his shoulder. The coordination of the right hand bowing technique with the left hand fingering and stopping calls for great skills in synchronization. The best players are those who can harmonise both the bowing and the fingering in graceful and sustained ways. 

Historically, it is not until the 19th century that one gets prominent references to the sarangi, as it exists in the present form, as the favourite accompanying instrument for khayal and thumri concerts. Following the eclipse of dhrupad and the confinement of khayal in princely courts in the 19th century, thumri rose in popular esteem. 

The only instrument which could appropriately capture the fleeting nuances of the human voice as also the romantic and tuneful turns of thumri was and is the sarangi. Miserably, it also came to be associated with the hedonist and aesthete culture of the kothas and nautch girls; so much so that sarangi players began to gather a sleazy reputation in the eyes of moral prudes, influenced as they were by the uptight morality of the colonial British ruling class. The decline of the kothas, from the late 19th century, owing to several social, cultural and historical factors, added to the instrument`s list of woes. In several parts of North and East India, the decline of the aristocratic class and landed gentry who patronized the courtesans as also the corresponding rise of the puritanical middle class, who took a prejudiced view of the courtesan culture, contributed greatly to the marginalisation of the sarangi players. 

Even earlier, few musicians hailing from a sound background took to the instrument, allured as they were by the more `respectable` instruments like the sitar and the sarod. Some of the reasons for this seem quite obvious, given the unwritten taboos operating in one`s cultural unconscious. For one, the strings of the sarangi were made of animal gut, which meant that Hindus kept away from it. Therefore, only Muslims and low caste Hindus took to it in the 19th century, leading to their lowly musical status made, of course, worse by their lowly social status. Their knowledge of the principles of classical music, for some reason, was considered to be inadequate or scanty, as they had not undergone rigorous training in vocal or instrumental music under finicky and fastidious ustads. 

These factors, coupled with the prudery of the new middle class patrons and listeners hailing from Maharashtra, naturally led to the decline of the instrument well into the 20th century. Yet it is also a fact that reputed sarangi players taught classical vocal music to courtesans well into the 20th century; for few know the nuances of tuneful music as they do. 

During the later part of the 19th century, and early parts of the 20th century, several khayal singers started using the sarangi as their chief accompaniment. However, with the entry of the `meek` harmonium, first in Calcutta and later in other parts of the country, during the very end of the 19th century and the early part of the 20th centuries, the fortunes of the sarangi suffered an irreversible setback. 

The upstart harmonium, caustically referred to by some musicologists as the `bastard progeny` of a despicable Indo-European fling, soon became the preferred instrument for accompaniment of several khayal, thumri and ghazal performers. As many serious musicians have said time and again, the unsubtle harmonium with its limited advantages cannot bring out the rich shruti or tonal shades so characteristic of Hindustani music. Importantly, neither can it execute the meends nor bring out the inflections, ornaments and intonations so typical of Hindustani music. In fact, Hindustani vocal recitals, both classical and light, achieve a tonal fullness and roundedness only when accompanied by its natural spouse, the sarangi. Given its natural ability to imitate the refinements of the human voice, the sarangi can tone with the singer`s voice and give it rich shadings or trail the singer while he or she sings. 

The sarangi can also produce an endless stream of continuous melody while the singer pauses for breath or rest during a recital. Curiously, vocal gharanas, which have a sarangi background like Kirana, Indore, Benaras and Patiala, soon began to resort to the harmonium either partially or totally, probably in a bid to disregard their true musical roots and thereby attain social respectability in the eyes of the musical community in the process. 

Yet they conveniently forgot that it was their sarangi background that gave their music its affecting tunefulness, as also the supreme focus on the beauty of note production. But they chose to leave behind the tradition that nurtured them. 

Today, a majority of the established sarangi players hail from parts of Delhi, Rajasthan, Uttar Pradesh and Madhya Pradesh. Towns like Moradabad, Saharanpur, Muzaffarnagar, Benaras, Meerut, Panipat and Sonipat have all along produced some of the best sarangi players of the 20th century. 

The sarangi`s stirringly emotional tone, so evocative of Indian landscapes and its changing moods at various times of the day and seasons, soon lost out to the sober keyboard instrument, due to the disloyalty committed by numerous singers. Singers had their own reasons for preferring the poorly nuanced harmonium to the tonally resplendent sarangi. 

They felt that while the sarangi sounded excellent in the vilambvit, it had a predisposition to screech when the fast sections were played. This last factor, which proved distracting and irritating to the singer, also quickened its exit from the stage. Also some singers felt that gifted sarangi players had a tendency to upstage them with their virtuoso improvisations leading again to the loading of the scales against the instrument. By the middle of the 20th century, the community of brilliant sarangi players, noted for their classical excellence, were either reduced to destitution or were compelled to return to the handful of kothas that existed in some parts of North India to eke out a living. 

For many decades, until a revival from the 1970s and 1980s on, the sarangi players went through bouts of insecurity made worse by their diminished self-esteem and sidelining by cultural establishments and institutions. Many noted players who were hereditarily sarangi players, even refused to teach their children the instrument and encouraged them to pick up more popular and lucrative instruments like the sarod and the sitar. The state of affairs was indeed sorry until some time back. This was the time which incited some of the gifted players to strike out on their own as soloists and help the instrument win back its lost glory on the national and international stage. In the hands of such players of genius as Ustad Bundu Khan, Pt. Ram Narayan, Ustad Ghulam Sabir Khan, Ustad Sagiruddin Khan and Pt. Gopal Mishra, and brilliant contemporary artists like Ustad Sultan Khan and the late Ustad Abdul Latif Khan of Bhopal, the fortunes of the instrument have revived considerably. The Sarangi Mela held in 1989 in Bhopal proved to be an important event for the more than 100 leading and upcoming instrumentalists who gathered there.

They reminded themselves of the urgent need to preserve and propagate their hoary and splendid traditions in the best way possible. Many talented young players, especially from traditional sarangi communities, are now coming forward to continue their family traditions and are making a name for themselves in the field. 

While there is much room for concern about the future of this instrument, given the slow ousting of it from the film industry, following the overthrow staged by electronic keyboards, there is definitely none for despair.

Veena

Veena is a classical Hindu Lute belonging to the family of string musical instruments. It is an ancient musical instrument which is said to have been invented by Narada, one of the seven great rishis, who was also a Veena maestro. 

The Veena is a plucked string instrument, four feet long, carved and with a hollowed structure made of wood, generally, jackwood. Good quality Veenas are carved from a single block of wood, whereas, the ordinary Veenas are divided into three sections, resonator, neck and head. Its tapering hollow neck contains metal frets set into wax on wooden tracks. One more resonator is present on the top of the long neck of the Veena. This is used as a stand to in the positioning of the instrument. Usually it has seven strings, made up of steel along with a long finger board containing 19 to 21 frets or supports. According to the number of strings there are several variations of the Veena. The performer has to place one gourd on the shoulder and the other one on the hip. 

There are several variations of the Veena and its designs have been evolved over the years. In the field of North Indian Classical Music, the bin, is most commonly used. It consists of a stem about three feet long that supports a bamboo fret board approximately twenty-two inches long and two and a half inches wide. It has twenty-four metal frets, which are set to the half-steps in two octaves. The frets are stationary, fixed in a resinous substance. The two resonating gourds are large, about fourteen inches in diameter. It has four main playing strings, which are tuned to Ma, Sa, Pa, and Re. This gives the instrument a total range of over three octaves. Most of the melody, however, is produced on the first string, which is closest to the player`s body. Three additional strings, which are suspended on the sides and not over the frets, are tuned to Sa, Sa, and Sa. These are drone and rhythm strings. The index and middle fingers of the right hand are used for plucking the melody strings; the little finger plays the drone. The index and middle fingers and occasionally the ring finger of the left hand reach around from under the stem to stop the strings. The plectrum used for the bin is like that of the sitar, but is worn sideways on the finger. Some binkars use their fingernail rather than a plectrum for plucking. The performer sits cross-legged and holds the instrument at a slant to the left shoulder, the upper gourd resting on the shoulder and the lower gourd on the right knee 

The Bin was the main stringed instrument of Hindustani Classical Music well into the 18th century. It was used as an accompaniment for vocal music. Accordingly, the bin players in the courts of the Mughal emperors had to sit behind the vocalists whom they accompanied. As the type of vocal music that the bin accompanied gave way in popularity to other types, the use of the instrument declined. On the other hand, it was gradually developed into a concert (i.e., solo) instrument by such musicians as Wazir Khan of Rampur early in the twentieth century. It is seldom played nowadays, but aficionados appreciate its deep and full tone. 

The modern Veena used in Carnatic music is quite different in construction from the northern Veena. Called the Saraswati Veena, the most noticeable difference in this type of Veena is the repositioning of one of its gourds so that the stem runs into it and is thus part of the body of the instrument. This Veena is therefore a lute-type instrument rather than a zither, since its stem becomes a neck. Its `gourd` is not actually a gourd any longer; it is a hollowed-out chunk of wood, usually jackfruit that is closed in by a flat piece of wood. At the opposite end of the stem is attached a scroll, which is usually carved into the head of a dragon. With the dragon head covered with gold leaf, as it often is, and the rest of the instrument, including the remaining gourd, gaily painted, the modern Veena is a gorgeous instrument. The dragon`s neck conceals a compartment containing a small amount of sandalwood paste that the player uses to help his fingers slide easily along the wire strings. The Saraswati Veena is said to be the abode of divinity as the Veena Danda represents Lord Shiva, the strings Parvati, the dragon head Lord Vishnu, the bridge Goddess Lakshmi, the balancing gourd Lord Brahma and the connecting metal cone Sarasvati. 

The Veena`s twenty-four metal frets, which are placed to produce the semitones of two octaves, are fixed in a resinous substance, as they are on the bin. Also as on the bin, the Veena has four playing strings and three strings (called talam strings) used for drone and rhythm. The Veena is tuned as the bin is. The player (vainika) sits cross-legged on the floor. The Veena is sometimes played vertically, like the bin, but is generally played horizontally, with the bowl of the Veena on the ground but supported by the right thigh. The small balancing gourd is to the left, touching the left thigh, so the degree of slant is small. The index and middle fingers of the right hand pluck the main strings with wire plectrums or false fingernails while the little finger strokes the drone strings. The left-hand fingers stop the strings and pull them sideways over the frets to produce ornaments and additional pitches. 

Other kinds of Veenas used in the realm of Indian music include: 

Vichitra Veena: This is a plucked string instrument used in Hindustani music and it is a comparatively recent addition to the Veena family. It is similar to the Gottuvadhyam Veena, since it has no frets and is played with a slide. The Vichitra Veena is made of a broad, fretless, horizontal arm or crossbar (dand) around three feet long and six inches wide, with two large resonating gourds (tumba), which are inlaid with ivory and attached underneath at either end. The narrow ends of the instrument are fashioned into peacock heads. This Veena has a five-octave range. There are four main playing strings and five secondary strings (chikaris), which are played openly with the little finger for a drone effect. Underneath them are 13 sympathetic strings tuned to the notes of the appropriate raag. 

Gottuvadhyam Veena: This musical instrument is also known as the Gottuvadyam, Chitra Veena or Mahanataka Veena and it is a Carnatic music string instrument. It is played mainly in South India and it is usually also used as a solo instrument in Carnatic music. This instrument resembles the Saraswati Veena in its general form, but in many ways it is unique. The name Gottuvadhyam literally means `block instrument.` It is a complicated ancient instrument with twenty-one strings, out of which there are six main strings used for melody that pass over the top of the instrument, three drone strings and about twelve sympathetic strings that run parallel and below the main strings. It is played with a slide in a manner somewhat like a lap steel guitar. The fingers on the right hand are usually used with plectra to pluck the metal melody strings while a cylindrical block made out of hardwood (often ebony), water buffalo horn, glass, steel, or teflon held by the left hand is used to slide along the strings to vary the pitch. It is made from a cylindrical block, hence the name. 

Mohan Veena: This is a stringed musical instrument used in Indian classical music and this was invented and popularised by Pandit Vishwa Mohan Bhatt. Though it comes in the category of classical instruments, it is not an ancient one, since it is actually a modified slide guitar with 20 strings: three melody strings, five drone strings strung to the peghead, and twelve sympathetic strings strung to the tuners mounted on the side of the neck. A tumba or gourd is screwed into the backside of the neck for improved sound quality and vibration. It is played by placing it in one`s lap. 

The Veena used to be considered an aristocrat among instruments. It was, and still is, used to accompany singing, and also functions as a solo instrument.

What is Giddha (ਗਿੱਧਾ, giddhā) - Bhangra (ਭੰਗੜਾ, pə̀ŋgɽä )?

Giddha (ਗਿੱਧਾ, giddhā) - Bhangra (ਭੰਗੜਾ, pə̀ŋgɽä) is a popular folk dance of women in Punjab region of India and Pakistan. The dance is often considered derived from the ancient dance known as the ring dance and is just as energetic as Bhangra and at the same time it manages to creatively display feminine grace, elegance and elasticity.

Bhangra enhanced during the Vaisakhi festival celebrations of the Punjab. The Punjabi dance performed at this time in ecstasy with the beat of Dhol came to be known as Bhangra. The tradition spread slowly to other parts of the region and developed into a unique folk dance form. Bhangra has come of age and is now performed at every major celebration and in clubs, etc.

Traditional Bhangra is a fusion of music, singing and the beat of the dhol drum, a single-stringed instrument called the iktar (ektara), the tumbi and the chimta. The accompanying songs are small couplets written in the Punjabi language called bolis. They relate to current issues faced by the singers and (dil the gal) what they truly want to say. In Punjabi folk music, the dhol's smaller cousin, the dholki, was nearly always used to provide the main beat. Nowadays the dhol is used more frequently, with and without the dholki. .
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. 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.

BHANGRA / PUNJABI DHOL

The construction and the type of skin are similar to the Dholak.

The Bhangra Dhol is also tuned like the Dholak by moving the metal rings along the strings and thus increasing or reducing the tautness of the skins. Compared to the Dholak it has the considerably larger diameter of appproximately 40 cm; - the length of the body is about the same. The large diameter produces an enormous powerful bass tone. It is used traditionally in the Punjab for accompanying the Bhangra dances. It is mostly played not with the hands but with two drumsticks.

PUNJABI BHANGRA ON TRADITIONAL BAND WITH PUNJABI GIRLS MEAN HE IS BOY WHO WEARING GIRLS SOOT nachhar.

ITS VERY ENJOYABLE WHO DANCE ON THIS BAND.

What is " Shastriya Sangeet " ?

Music that is sung and played by strictly following the rules of notes, rhythm, melody and harmony is called Classical Music or 'Shastriya Sangeet' in India. Despite its strong technical connection and a tendency to follow established rules in music, Classical or Shastriya Sangeet is extremely pleasing to the ears.

Though Indian Classical Music offers a lot of scope for improvisation, musicians & artists can do so while following the rules and guidelines of such music. Ragas are the guiding force behind melodies in Indian music and musicians have the liberty to improvise after selecting the basic raga and taal format.

Shastriya Sangeet is a well art form in India and is widely popular especially with those sections of the society who have an ear for such music. Well established and distinguished performers in the field of Classical Music are bestowed with titles to their names as a mark of respect. Some of the common titles include 'Ustad' and 'Pandit', among others.

Some of the instruments associated with Classical Music include the Veena, Sitar, Bansuri. Sarangi, Sarod, Shehnai, Tabla and the Harmonium.