The musical
instruments of South India
may be divided into two groups: (1) melodic instruments and (2) percussion or rhythm instruments. The first group of melodic instruments may be further sub-divided into three groups, string, wind, and bellowed. The stringed instruments are categorized by the way they are played, plucked or bowed. The instruments that belong to the first category are: Tambura, Veena and Gottuvadyam. The most popular instrument in the second category is the Violin. Wind instruments used in South India are Flute, Nagaswaram, Ottu and Clarionet. Bellowed instruments are harmonium and sruti-peti. Instruments that belong to the group of percussion instruments are: Mridangam, Ghatam, Kanjira, Moorsing, Tavil and Jalra.
The division can be easily understood by the following chart:
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Instrument: Tambura|
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The tambura is a drone instrument which is an essential part of every classical concert, North or South Indian (even though the name and construction are slightly different, it is called Tanpura in the North and Tambura in the South.) The Tambura player generally sits behind the main artist so that the artist may hear the drone constantly. It is played continuously throughout the length of an entire concert.
Structure. It is usually made of wood (mostly Jackwood). It consists of a long, unfretted neck which has tuning pegs (four and six in number, depending on the number of strings) inserted into the upper end and a bowl-shaped resonator at the lower end which vibrates and amplifies the sound. The bowl is usually made from wood in the South and from a hollowed-out gourd in the North. In the center of this bowl lies a broad, grooved bridge made of bone or ivory. Just below the pegs is a thin plate perpendicular to the neck which has holes through which the strings pass. Below this is another narrow, grooved plate over which the strings next pass and then run along the entire length of the neck over the main bridge and are finally attached to the bottom of the bowl. Between this attachment and the main bridge, each string has a bead which is used for finer tuning by moving it up or down. Also, fine silk threads called Jiva are used between the bridge and the strings. By positioning these at the right spot, each string "rings" or "buzzes" and this enhances the tonal effect.
The number of strings in a Tambura varies from four to six. In the four-stringed Tambura, the two middle strings are tuned to the tonic. The last string, which is the bass string, is tuned to the tonic one octave lower. The first string is usually tuned to the dominant. In the five or six-stringed Tambura,the performer can choose to tune the extra string(s) to any note(s) in the Raga he is playing.
Playing position: The Tambura is usually held upright and placed on the lap of the player. The strings are plucked continuously with the middle and forefinger of the right hand (sometimes the Tambura is also placed horizontally and played in the same manner.)
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The Veena is one of the most important instruments which is exclusive to South India. The modern Veena has evolved from its ancient counterpart after several modifications and has been in use for the last three or four centuries.
Structure: Made of Jackwood, the Veena consists of a hollow resonator carved from a single block of wood which continues as a long fretted neck to which is attached another smaller resonator. The neck curves backwards and at the end is a carved head of a mythological animal. On the flat portion of the resonator sits a brass-plated bridge and through its grooves run the four main strings. At the end of the main resonator is a string holder. Below the bridge, which sits on the resonator, are small metal rings which are attached on one side to the strings and on the other, by thick metal wires, to the string holder. Between the rings and the string holder are small metal coils used for finer tuning. Attached to the right side of the main bridge is a curved metal bridge over which pass the three Tala strings (these strings are used for keeping the drone and also indicate the rhythmic cycle). The three strings are attached to pegs on the side of the neck. The four main strings run along the length of the neck, pass over a grooved plate into four tuning pegs, two on either side of the neck. The neck is carved out and covered with a thin strip of wood. On both sides of the neck are edges made of wax on which twenty-four metal frets are fixed.
The smaller resonator, which is attached to the underside of the neck, is made either of papier-mache or a carved-out gourd. This serves as a second or additional resonator and also as a rest. The gourd is detachable.
Playing position: It may be held either vertically or horizontally, the latter position being more commonly used. The performer sits cross-legged and holds the Veena with the small resonator resting on the left thigh. The index and forefinger of the left hand are used to press down on the strings against the frets at the same time the index and forefinger of the right hand are used to pluck the strings at the lower end. The player normally wears wire plectra on both fingers. Ornamentations (Gamakas) are produced by pulling the strings. The little finger is used to pluck the Tala strings. This is plucked upwards as opposed to the main strings which are plucked downwards.
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Playing position: The instrument is placed horizontally in front of the artist. A wooden or metal cylinder held in the left hand is used to slide over the strings which are simultaneously plucked with the middle and forefinger of the right hand. The little finger is used to pluck the Tala strings. Like the Veena, the main strings are plucked downwards and the Tala strings upwards.
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The Gottuvadyam is structured exactly like the Veena minus the frets and the "waxi" ledge. In addition, there are sympathetic strings which form the lower layer.
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The Gottuvadyam has a total of twenty strings which are divided thus: five strings on the upper layer which are the playing strings, three Tala or drone/rhythm strings and twelve sympathetic strings below the main strings. The main strings are tuned as follows: S, S (two Tonics) P (Dominant lower than the Tonic) S (Tonic, Octave lower) and P (Dominant, octave lower than the first Dominant). The three Tala strings are tuned to S (Tonic), P (Dominant) and S (Tonic, octave higher.)
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The South Indian violin is identical to the Western violin but differs in tuning and playing position. The violin may be traced back in South Indian music to as early as 1764 as witnessed in a painting in the palace of Tippu Sultan in Srirangapatnam in Mysore State, South India. Balaswami Dikshitar, brother of the famous composer, Muttuswamy Dikshitar, was the first Indian musician to adapt the Western violin and popularize its use in Karnatic music. Some scholars believe that the violin existed in India during the Ramayana period (400 B.C.) and it was from India that it traveled to the West.
Playing position: The Karnatic violin is traditionally held in its playing position with the scroll placed on the artist's ankle and the back resting on the left shoulder and collar bone or chest; thus, allowing the performer an unencumbered left hand with which to play Indian musical ornaments such as the Gamaka.
The four strings are tuned as follows: S (Tonic, octave lower) P (Dominant, octave lower) S (Tonic), P (Dominant), from the fourth to the first string respectively, the Tonic being variable in pitch. The Karnatic violin must be used as a melodic accompaniment in a vocal concert; but, due to the recent advancement in technique, it has currently evolved as one of the most important solo instruments in South Indian music.
The flute is one of the oldest wind instruments. The bamboo flute, which is the most commonly used flute in South Indian classical music, is the best example of a nature-made instrument without detachable parts and a complicated mechanism. Flutes can also be made of ivory, sandalwood, ebony or metals such as silver and gold.
It is usually a simple cylindrical tube of uniform bore, closed at one end. Flutes vary in size from eight inches to two and one-half feet. The larger flutes have a deep, bass tone whereas the shorter ones are high-pitched. The South Indian flute is about fourteen inches in length and three quarters of an inch in diameter. The closed end may be naturally so, i.e. closed by a node of the stem or it may be artificially sealed with cork or a stopper. About three-quarters of an inch from the sealed end is bored the mouth- hole known as the Mukha randara. Besides the mouth-hole there are eight finger holes of uniform size in a straight line. The finger holes are slightly smaller than the mouth hole. The finger hole closest to the mouth-hole is called the Tara randara i.e. the hole which produces the highest pitch of all the holes. This is considered as the first hole and the rest are numbered in progression.
Playing position: The flute is held horizontally, normally to the player's right, slightly inclined down wards, and played. The two thumbs hold the flute in place. The first three fingers of the left hand and the four fingers of the right hand are used to close the finger holes, one to seven respectively. The eighth finger hole is left open. Sound is produced by blowing air at an angle against the opposite edge of the mouth hole. The lower lip covers a part of the mouth hole. Variations in pitch are caused by altering the effective length of the air column as a result of the opening and closing of air holes. Semi-tones and quarter-tones can be produced by the partial opening and closing of the finger holes. The flute has a range of two and one-half octaves.
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The Nagaswaram, which belongs to the woodwind family is known as a Mangala Vadya (lit. mangaIa means auspicious - vadya means instrument) since it is played in temples, processions, festivals and auspicious occasions like marriages, etc. The correct name, incidentally, is Nagaswaran and not Nadaswaram as incorrectly pronounced by some.
There are two varieties of Nagaswaram: Timiri, which is shorter (usually about one and one-half feet) and higher in pitch and Pari, which is longer (two to two and one-half feet) and lower in pitch.
It is a double reed instrument with a conical bore which gradually enlarges towards the lower end. It is usually made of a type of ebony. The top portion has a metal staple (called Mel Anaichu) into which is inserted a small metallic cylinder (called Kendai) which carries the mouthpiece which is made of reed. Besides spare reeds, a small ivory or horn needle is attached to the Nagaswaram. This needle is used to clear the mouthpiece of saliva particles and allows the free passage of air. A metallic bell (called Keezh anaichu) decorates the bottom.
The Nagaswaram has seven finger-holes. There are five additional holes drilled at the bottom which are used as controllers. The Nagaswaram, like the flute, has a range of two and one-half octaves and the system of fingering is also similar to that of the flute. But, unlike the flute, where semi and quarter tones are produced by the partial opening and closing of the finger holes, in the Nagaswaram they are produced by adjusting the pressure and strength of the air-flow into the pipe. Hence, it is a very exacting instrument. Also, due to its intense volume and strength, it is basically an outdoor instrument and much more suited for open spaces than for closed indoor concert situations.
The Nagaswaram group or Periya Melam, as it is often called, usually consists of the lead Nagaswaram player, the ottu, or drone, the tavil player and the Tala-keeper (a small pair of bronze cymbals.)
The Ottu is a drone instrument which is part of the Nagaswaram group. It resembles the Nagaswaram in shape and construction but is slightly longer. The player holds the reed at the upper end of the instrument in his mouth and blows into it to produce a single note which provides the drone for the Nagaswaram.
Besides all the existing South Indian instruments, the Twentieth Century has seen the introduction of several Western instruments into South India. These instruments have been adapted beautifully and mastered to play Karnatic music. Of these, the most commonly heard are Clarionet (also spelled "clarinet"), Mandolin, Saxophone and Guitar.
