Ghatam, Musical Instrument

 

Originating from the southern regions of India, the Ghatam is a traditional clay percussion instrument deeply rooted in Indian classical music. Its significance lies not only in its distinct sound but also in its cultural heritage and historical significance. In this article, we will explore the types, significance, and various uses of the Ghatam in Indian music. 

Significance:

The Ghatam holds a prominent position in Indian classical music ensembles, particularly in the Carnatic tradition. Its unique construction from clay gives it a resonant, earthy tone that adds depth and texture to musical compositions. Historically, the Ghatam has been used in religious ceremonies, folk music, and classical performances, symbolizing the rich cultural tapestry of India. 

Types:

While the basic construction of the Ghatam remains consistent across variations, there are subtle differences in size, shape, and playing technique. The two main types of Ghatam are the "Mud Ghatam" and the "Metal Ghatam." The Mud Ghatam is crafted entirely from clay, shaped by hand, and sun-dried before being baked in a kiln. On the other hand, the Metal Ghatam is made from brass or copper and offers a different tonal quality compared to its clay counterpart. Additionally, variations in size and weight produce different pitches and volumes, allowing for versatility in musical compositions. 

Uses in Indian Music:

The Ghatam serves multiple purposes in Indian music as a percussion instrument, contributing rhythm, melody, and texture to performances. In classical concerts, it often plays a foundational role as part of the percussion ensemble, providing the rhythmic framework for compositions. Skilled Ghatam players demonstrate intricate patterns and improvisations, enhancing the dynamics of the music and engaging the audience. 

In addition to classical music, the Ghatam is also utilized in folk and devotional genres, where its rustic sound adds authenticity and emotional resonance to the music. Its versatility allows it to adapt to various musical styles and contexts, making it a versatile instrument in the hands of adept musicians. 

Furthermore, the Ghatam is often featured in solo performances, where its expressive capabilities are showcased to full effect. Solo Ghatam recitals demonstrate the instrument's rich tonal palette, rhythmic complexity, and dynamic range, captivating audiences with its virtuosity and mastery. 

The Ghatam stands as a symbol of India's musical heritage and cultural diversity. Its significance extends beyond its role as a mere instrument, embodying centuries of tradition and craftsmanship. Whether in classical ensembles, folk gatherings, or solo performances, the Ghatam continues to enchant listeners with its earthy timbre and rhythmic vitality, ensuring its enduring presence in the tapestry of Indian music.

Dr. Ashwini Bhide-Deshpande

Dr. Ashwini Bhide-Deshpande is a prominent figure in the realm of Indian classical music, renowned for her exceptional vocal prowess and deep understanding of the traditional musical forms. Born into a family with a rich musical heritage on October 7, 1960, in Mumbai, India, she inherited her passion for music from her father, Shri. Narayanrao Bhide, an accomplished harmonium player and vocalist.

 

From an early age, Dr. Bhide-Deshpande exhibited a keen interest and aptitude for music, which led her to receive formal training in the classical tradition. She was fortunate to study under the guidance of eminent gurus such as Pandit Ratnakar Pai and Pandit Ratnakant Ramnathkar, who imparted to her the nuances and intricacies of the Gwalior and Jaipur-Atrauli gharanas, respectively. Her rigorous training laid a solid foundation for her future endeavors in the field of Indian classical music. 

Dr. Bhide-Deshpande's career as a classical vocalist began to blossom as she embarked on her journey to master the classical repertoire. Her dedication to her craft, coupled with her innate talent, enabled her to carve a niche for herself in the highly competitive world of Indian classical music. Over the years, she has captivated audiences with her soulful renditions and impeccable technique, earning acclaim from both critics and connoisseurs alike. 

One of the defining features of Dr. Bhide-Deshpande's musical style is her ability to infuse her performances with profound emotion and spiritual depth. Her renditions are marked by their authenticity and sincerity, reflecting her deep reverence for the classical tradition. Whether interpreting ancient compositions or improvising within the framework of traditional ragas, she brings a sense of vitality and dynamism to her music that resonates with audiences across generations. 

In addition to her accomplishments as a performer, Dr. Bhide-Deshpande is also a dedicated teacher and scholar, committed to preserving and disseminating the rich heritage of Indian classical music. She holds a Ph.D. in Music from the University of Mumbai, where she conducted extensive research on the compositions of the legendary saint-poet Sant Tukaram. Through her academic work and pedagogical efforts, she has played a crucial role in nurturing the next generation of musicians and fostering a deeper appreciation for the classical arts. 

Throughout her illustrious career, Dr. Bhide-Deshpande has received numerous accolades and honors in recognition of her contributions to Indian classical music. She has been conferred with prestigious awards such as the Sangeet Natak Akademi Award, the Kumar Gandharva National Award, and the Gaanwardhan Award, among others. These accolades serve as a testament to her unparalleled talent and unwavering dedication to her art. 

As she continues to enthrall audiences with her captivating performances and inspire aspiring musicians with her teachings, Dr. Ashwini Bhide-Deshpande remains a towering figure in the world of Indian classical music. Her tireless efforts to preserve and propagate the rich musical heritage of India have earned her a place of honor and respect in the hearts of music lovers worldwide, ensuring that her legacy will endure for generations to come.

Conga, Musical Instrument

 

The Conga, a musical instrument with roots in Afro-Cuban culture, has found its place not only in Latin American music but also in various musical traditions worldwide, including Indian music. Its distinctive sound and versatile nature have made it a valuable addition to Indian musical ensembles, offering rhythmic depth and dynamic expression. This article explores the history, construction, and uses of the Conga in Indian music. 

History:

The Conga's origins can be traced back to the African drumming traditions brought to the Caribbean during the transatlantic slave trade. Its development took place primarily in Cuba, where it evolved from traditional African drums like the Bantu and Congolese drums. Over time, it became an integral part of Afro-Cuban music, particularly in genres like rumba, mambo, and salsa. From Cuba, the Conga spread to other parts of Latin America and eventually to the rest of the world. 

Construction:

The Conga is a tall, narrow drum with a single head, typically made of animal skin or synthetic material such as fiberglass. It features a tapered body, wider at the top and narrower at the bottom, which allows for varying tones depending on where the drum is struck. The drumhead is usually tensioned with metal or rope tuning hardware to produce different pitches. Congas come in various sizes, with the larger drums producing deeper, resonant tones, and the smaller ones producing higher, sharper tones. 

Uses in Indian Music:

In Indian music, the Conga has been embraced for its ability to complement traditional percussion instruments like the tabla, mridangam, and dholak. Its rich, resonant sound adds depth to the rhythmic tapestry of Indian compositions, enhancing both classical and contemporary musical performances. 

In classical Indian music, particularly in genres like Hindustani and Carnatic, the Conga is often employed in fusion ensembles alongside traditional instruments and Western counterparts. Its rhythmic patterns blend seamlessly with the intricate tabla bols (syllables) or the dynamic beats of the mridangam, enhancing the overall rhythmic complexity of the music. 

In contemporary Indian music, including film scores and popular music, the Conga is utilized for its versatility and ability to create catchy rhythms and grooves. It is often featured in compositions where a fusion of Western and Indian musical elements is desired, adding a modern flair to traditional melodies. 

Moreover, the Conga has also found its place in Indian folk music, where its infectious rhythms drive energetic dance performances and festive celebrations. Whether in the vibrant beats of Bhangra or the lively rhythms of Garba, the Conga adds a lively pulse that encourages movement and participation. 

Conga, with its rich history, distinctive construction, and versatile uses, has become an integral part of Indian music, contributing to its rhythmic complexity and expressive potential. From classical compositions to contemporary fusion, the Conga continues to captivate audiences with its vibrant sound and dynamic presence.

Tappa Music

 

Tappa music, an integral part of the rich tapestry of Indian classical music, holds a distinct place with its emotive melodies and intricate compositions. Originating from the Indian subcontinent, particularly the regions of Punjab and Rajasthan, Tappa has undergone a fascinating evolution over the centuries, blending tradition with innovation to create a unique musical form. 

The history of Tappa music dates back to the 18th century, where it emerged as a form of folk music among the camel riders and traders of the Punjab and Rajasthan regions. Initially, Tappa was performed by wandering minstrels known as 'Mirasis' or 'Dhadhis,' who would entertain audiences with their soulful renditions during various social and festive occasions. The lyrics of Tappa typically revolved around themes of love, nature, and the trials of everyday life, reflecting the sentiments of the common people. 

As Tappa gained popularity, it began to incorporate elements of classical music, particularly from the North Indian Hindustani tradition. Influenced by the intricate ragas and talas of classical music, Tappa evolved into a more structured and refined art form. Renowned classical musicians such as Ustad Bade Ghulam Ali Khan and Ustad Barkat Ali Khan played a pivotal role in elevating Tappa to the status of a respected genre within Indian classical music. 

One of the distinguishing features of Tappa music is its fast-paced tempo and complex rhythmic patterns. Tappa compositions are characterized by rapid melodic improvisations, often interspersed with intricate taans (flourishes) and sargams (musical phrases). The intricate ornamentations and virtuosic techniques required to perform Tappa make it a challenging yet rewarding art form for musicians. 

Over time, Tappa music has continued to evolve, incorporating influences from other musical traditions while retaining its distinctive essence. Modern interpretations of Tappa have seen collaborations with jazz, fusion, and world music, resulting in innovative fusions that appeal to contemporary audiences while preserving the integrity of the classical form. 

Despite its evolution, Tappa music remains deeply rooted in tradition, with artists paying homage to the rich heritage of the genre while exploring new avenues of expression. The timeless appeal of Tappa lies in its ability to evoke a range of emotions, from joy and ecstasy to longing and melancholy, transcending linguistic and cultural barriers to resonate with listeners across the globe. 

In conclusion, Tappa music stands as a testament to the enduring legacy of Indian classical music, blending folk traditions with classical rigor to create a truly distinctive musical form. Its history and evolution reflect the diverse cultural landscape of the Indian subcontinent, while its continued relevance underscores its enduring appeal in the modern world. As Tappa continues to enchant audiences with its mesmerizing melodies and virtuosic performances, it remains an integral part of India's rich musical heritage.

Clarinet, Musical Instrument

 

The clarinet, a versatile woodwind instrument with a rich history, has found its place in the musical traditions of various cultures around the world. In India, the clarinet has become an integral part of both classical and contemporary music, contributing to the country's diverse musical landscape. 

The history of the clarinet in India can be traced back to the colonial era when European settlers and missionaries introduced Western musical instruments to the Indian subcontinent. Initially, the clarinet was primarily used in military bands and orchestras established by the British East India Company. However, over time, Indian musicians began to adopt the instrument and incorporate it into their own musical traditions. 

One of the most notable figures in popularizing the clarinet in India was A. K. C. Natarajan, also known as "Clarinet Natarajan." Born in the early 20th century, Natarajan was a pioneering clarinetist who played a significant role in introducing the instrument to Indian classical music. He adapted the techniques and repertoire of the clarinet to suit the nuances of Indian ragas and talas, thus creating a unique fusion of Western and Indian musical styles. 

In Indian classical music, the clarinet is often used as a solo instrument or as part of an ensemble accompanying vocalists or other instrumentalists. Its distinctive sound adds depth and texture to traditional compositions, enhancing the overall musical experience. Clarinetists in India undergo rigorous training to master the intricate techniques required to navigate the complex melodies and rhythms of classical ragas. 

In addition to its traditional role as a wind instrument, the clarinet has also gained popularity in contemporary Indian music genres such as film music, fusion, and jazz. Many prominent composers and musicians have incorporated the clarinet into their compositions, experimenting with new sounds and arrangements. Its versatility allows it to seamlessly blend with various musical styles, making it a sought-after instrument in both live performances and studio recordings. 

Today, the clarinet continues to thrive in India's vibrant music scene, with a growing number of talented musicians embracing the instrument and pushing its boundaries. Concerts, festivals, and music schools across the country provide platforms for clarinetists to showcase their skills and connect with audiences from diverse backgrounds. 

However, despite its increasing popularity, the clarinet still faces challenges in India, including limited availability of quality instruments, lack of formal education and training opportunities, and the need for greater recognition and appreciation of the instrument's potential within the broader music community. 

The clarinet holds a special place in the musical heritage of India, bridging cultural divides and enriching artistic expression. From its humble beginnings in colonial times to its present-day prominence in classical and contemporary music, the clarinet continues to captivate audiences with its soulful melodies and timeless appeal. As India's musical landscape continues to evolve, the clarinet remains a symbol of innovation, creativity, and cultural exchange.

Tumbi, Musical Instrument

The Tumbi, also known as Toombi, stands as an emblem of ancient and traditional North Indian musical heritage, originating from the fertile lands of Punjab. Its inception dates back to times immemorial, deeply entrenched within the folkloric tapestry of the region. Characterized by its distinctively high-pitched sound, this single-string plucking instrument has carved an indelible niche in the annals of Indian music, transcending borders and genres to captivate audiences far beyond its place of origin.

 

The roots of the Tumbi delve deep into the cultural soil of Punjab, where it has long been an integral component of the folk music landscape. Renowned Punjabi singers such as Lal Chand Yamla Jatt, Kuldeep Manak, Mohammed Sadiq, Didar Sandhu, Amar Singh Chamkila, and Kartar Ramla have skillfully wielded this instrument, infusing their melodic renditions with its resonant timbre. It is through the pioneering endeavors of figures like Lal Chand Yamla Jatt that the Tumbi found its prominence in modern times, gaining traction in the 1960s, 1970s, and 1980s. 

The Tumbi's ascent to popularity was not confined within the bounds of its place of origin. Rather, it transcended geographical barriers, finding resonance within Indian and Pakistani expatriate communities, particularly in the United Kingdom and the United States. As a result, its sonorous notes reverberated within the corridors of Bollywood, making notable appearances in Bhangra scenes depicted on the silver screen. 

Despite its humble origins as a staple accompaniment for folk singers in Punjab, the Tumbi has traversed vast musical landscapes, leaving an indelible mark on Western Bhangra music. Its unmistakable sound has pervaded popular Western songs, testament to its enduring appeal and cross-cultural resonance. Indeed, the Tumbi holds a significant place in North Indian musical heritage, perpetuating the rich tapestry of folk music traditions that have flourished in the region for centuries. 

The allure of the Tumbi lies not merely in its melodic capabilities but also in its cultural significance. It serves as a tangible link to the vibrant cultural heritage of Punjab, embodying the spirit of resilience and creativity that defines the region. As such, it continues to enchant listeners worldwide, transcending linguistic and cultural boundaries to forge connections that transcend the confines of geography. 

Tumbi stands as a testament to the enduring power of music to transcend boundaries and unite disparate cultures. From its humble origins as a string instrument in the folk music traditions of Punjab to its widespread acclaim in modern times, it embodies the timeless appeal of Indian music and the rich cultural heritage from which it springs. As it continues to captivate audiences far and wide, the Tumbi remains a symbol of the enduring legacy of North Indian musical traditions.

Thumri, Indian Classical Music

 

Thumri, a delicate and emotive form of Indian classical music, holds a distinctive place in the rich tapestry of the country's musical heritage. Originating from the northern regions of India, Thumri has evolved over the centuries, adapting to changing cultural landscapes while retaining its essence as a profound expression of human emotion. 

Thumri finds its roots in the rich musical traditions of North India, particularly in the regions of Uttar Pradesh, Bihar, and Bengal. Its emergence can be traced back to the 18th century, during the reign of Nawab Wajid Ali Shah, the last ruler of Awadh (present-day Lucknow). The Nawab, a patron of the arts, played a pivotal role in nurturing the development of Thumri. Initially, Thumri was a form of light classical music that drew inspiration from the folk traditions of the region, incorporating elements of the 'kajri' and 'dadra' genres. 

Over time, Thumri underwent a transformation, adapting to the changing socio-cultural milieu of India. It evolved from a primarily devotional and folk-oriented form into a sophisticated genre, incorporating elements of classical ragas and talas. This evolution was catalyzed by the efforts of legendary musicians such as Siddeshwari Devi, Begum Akhtar, and Bade Ghulam Ali Khan, who elevated Thumri to new heights of refinement. 

One of the distinctive features of Thumri is its ability to convey a range of emotions, from the sublime to the playful. The lyrics, often in Braj Bhasha or Awadhi, depict themes of love, separation, and divine devotion. The emotive power of Thumri lies in its intricate melodic patterns, rhythmic nuances, and the skillful interplay between the vocalist and accompanying instruments. 

In the contemporary era, Thumri continues to thrive as a vibrant and dynamic form of Indian classical music. While its traditional musical roots remain firmly grounded, contemporary musicians have embraced innovation, experimenting with fusion and collaborating with artists from diverse musical genres. This adaptability has ensured that Thumri remains relevant to audiences across generations. 

The revival of interest in Thumri owes much to the efforts of music festivals, educational institutions, and dedicated practitioners who are committed to preserving and promoting this art form. Institutions like the Sangeet Natak Akademi and the ITC Sangeet Research Academy have played a crucial role in nurturing young talent and fostering an appreciation for Thumri. 

Thumri stands as a testament to the resilience and adaptability of Indian classical music. From its humble origins in the 18th century to its present-day status as a cherished form of artistic expression, Thumri has traversed a remarkable journey. Its ability to resonate with listeners on an emotional level, coupled with its capacity for innovation, ensures that Thumri remains a timeless and integral part of India's cultural heritage. As the echoes of Thumri continue to reverberate across concert halls and music festivals, they serve as a reminder of the enduring power of classical music to transcend time and connect with the human spirit.

Manjira, Musical Instrument

 

Manjira, also known as the hand cymbals or kartals, is a traditional Indian percussion instrument that holds a significant place in the realm of Indian classical and folk music. Renowned for its distinctive jingling sound, the Manjira plays a vital role in accompanying various musical genres and dance forms. 

Construction of Manjira

The Manjira is constructed with meticulous attention to detail, ensuring a balance between durability and resonant sound production. Typically, a pair of small, circular metal discs, ranging in diameter from 2 to 4 inches, are used in its construction. These discs are made from various metals, such as brass, bronze, or iron, each contributing to the distinct tonal quality of the instrument. 

The discs are attached to a central wooden or metal hub with the help of a sturdy cord, allowing them to move freely. The cord's tension is crucial in determining the pitch and resonance of the manjira. The frame of the instrument may also feature intricate carvings or decorations, adding to its aesthetic appeal while maintaining its structural integrity. 

Types of Manjira

While the basic design of the Manjira remains consistent, there are regional variations in terms of size, materials used, and playing techniques of this percussion instrument. The most common types include the northern and southern varieties. 

Northern Manjira: The northern variant, often referred to as Kartal, typically has smaller metal discs and is played by holding the cord in the hand and striking the discs together. This style is commonly associated with devotional music and classical genres in North India. 

Southern Manjira: In the southern regions of India, the Manjira is larger and known as "taalam." It is played by hanging the instrument on the fingers and striking it with the other hand. Southern Manjira is a prominent accompaniment in various South Indian classical and folk performances. 

Uses in Indian Music

The Manjira finds its application in a multitude of musical contexts, ranging from classical and devotional to folk and contemporary genres. 

Classical Music: In classical music forms such as Bhajan, Kirtan, and Thumri, the Manjira serves as a vital accompaniment. Its crisp, rhythmic sound enhances the overall texture of the musical composition, providing a dynamic and lively element. 

Folk Music and Dance: Across India, the Manjira is a staple in folk music and dance performances. Its lively and festive jingles complement the vibrant energy of traditional dances like Garba, Bihu, and Lavani. 

Devotional Music: In devotional music, especially during religious ceremonies and rituals, the Manjira is often played as an accompaniment to vocal and instrumental performances, creating a divine ambiance. 

The Manjira, with its simple yet elegant design, has embedded itself deeply in the musical fabric of India. Its versatility and adaptability allow it to seamlessly integrate into various genres, making it a cherished instrument in the hands of musicians and performers alike. As the Manjira continues to reverberate through the corridors of Indian musical traditions, its rhythmic resonance echoes the enduring spirit of a rich and diverse cultural heritage.

Manjira: A Timeless Musical Instrument

 

Manjira, also known as "jhanj" or "taal," is a traditional percussion instrument that holds a special place in the rich tapestry of Indian music. With its origins dating back centuries, the manjira has played an integral role in various Indian musical traditions, adding a unique and melodious dimension to both classical and folk music.

 

Origin and History

The manjira, believed to have originated in India, boasts a history as rich and diverse as the country itself. Its earliest mentions can be traced back to ancient texts like the Natya Shastra, a foundational treatise on the performing arts written by Bharata Muni. These texts provide evidence of manjira's presence in the Indian musical landscape as early as 200 BCE. 

The instrument consists of two small, circular metal discs, often made of brass or bronze, which are held together by a string or cord. Each disc is around two to three inches in diameter and has a unique design etched onto its surface. The enchanting sound produced by the manjira arises from the gentle striking of these discs against one another. 

Use in Indian Music

Manjira's primary role in Indian music is to provide rhythm and enhance the overall texture of a musical composition. This instrument is a crucial element in classical music genres such as Hindustani and Carnatic, where it is used in both solo and ensemble performances.

In classical Indian music, manjira is often played in conjunction with other percussion instruments like the tabla, pakhawaj, or mridangam, contributing to the intricate rhythmic patterns that form the backbone of these musical styles. The subtle, tinkling sound of the manjira adds a layer of complexity and charm to the compositions, making it an indispensable part of the ensemble. 

Apart from classical music, manjira is an integral component of various folk and devotional music traditions across India. It is commonly used in Bhajans (devotional songs) and Kirtans (devotional chants) as well. The instrument's simplicity and versatility make it accessible to a wide range of musicians and performers, regardless of their skill level. 

Playing Technique

Playing the manjira requires skill and precision. The musician holds the two discs, one in each hand, by gripping the string that connects them. The discs are then struck against each other in a rhythmic manner, creating a crisp and melodious sound. The intensity and speed of the striking can be adjusted to produce different tones and rhythms, allowing for a wide range of expressive possibilities.

In classical music, manjira players often follow a specific repertoire of patterns and compositions, known as "tala," to maintain the correct rhythm and timing. These talas can be quite complex, requiring years of practice to master fully. Percussion Instruments 

The manjira, with its timeless origin, historical significance, and versatile use in Indian music, stands as a testament to the enduring cultural heritage of India. Its delicate, melodious chime has the power to transport listeners to a realm where rhythm and melody intertwine, creating a harmonious tapestry of sound. As Indian music continues to evolve and adapt, the manjira remains a steadfast and cherished component, preserving the musical traditions of the past while enriching the compositions of the future. Its unique and melodious presence ensures that it will always have a special place in the hearts of musicians and music enthusiasts alike, both in India and around the world. 

Sarod, Indian Musical Instrument

  

Sarod is one of the leading concert instruments of North Indian Classical Music. This string instrument is most likely non-Indian in origin. The Sarod has four melody strings tuned to Sa, Pa, Sa, Ma and it is played with a triangular plectrum.

Structure of Sarod
It has a hollow circular belly to which is attached a tapering neck whose slim top portion holds the tuning pegs. Therefore it is a lute-type instrument. The shape of the belly of the instrument is distinctive in that it is pinched just below the place where the neck is attached. The use of wood for the belly of the Sarod and the use of parchment to cover the belly were retained from Rebab construction. The Sarod is usually three to three and a half feet long and has a body of teakwood overlaid with a fingerboard of polished metal, which facilitates sliding the finger along the strings. One of the distinctive features of the Sarod is that unlike the other string instruments it does not have a fret. The job of the frets is done by the left hand which is used for stopping the strings along the smooth fingerboard.

History of Sarod
The details of its development in India are quite different to trace. In all likelihood, it originated from the Rebab, an instrument from the Middle East. Its use in Indian Classical Music can be traced back to one of the master musicians of Indian music, Tansen. He was one of the most fantastic singers andBbinkars in the court of the Mughal emperor Akbar. Today, the Rebab has been replaced by the Sarod in the performances of Indian Classical music. It is said that Khan Saheb Asadullah Khan introduced the Sarod in Bengal over a century ago, and since then Bengal has become noted for the manufacture and popularization of this instrument.

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Sham Chaurasia Gharana

  

Sham Chaurasia Gharana is a gharana in Hindustani classical music, known for the singing of vocal duets, most notably represented in modern times by the brothers Salamat Ali Khan and Nazakat Ali Khan.

Centre of Sham Chaurasia Gharana
Sham Chaurasia gharana is centred at a village of the same name in the Hoshiarpur district of Punjab; variant spellings include Shamchurasi.

History of Sham Chaurasia Gharana
Sham Chaurasia Gharana is believed to have been founded in the 16th century by Mian Chand Khan and Mian Suraj Khan who were contemporaries of Mian Tansen at the court of Mughal emperor Akbar. Successive generations of musicians in the gharana specialised in the dhrupad form of singing and evolved a tradition of duet vocal jugalbandi performances.

Composers of Sham Chaurasia Gharana
Mian Karim Bukhsh Majzoob, Ustad Ahmed Ali Khan, Ustad Niaz Hussain Shami, and Ustad Vilayat Ali Khan were some of the illustrious members of the Sham Chaurasi Gharana.

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Carnatic Musical Instruments

  

Carnatic Musical Instruments accompany the traditional Carnatic music, which is usually prevalent in the southern part of India. It is popular in the states of Karnataka, Andhra Pradesh, Tamil Nadu and Kerala. Carnatic music is one of the two sub genres of Indian classical music.

Chande
Chande is a percussion instrument used along with the traditional Carnatic music, especially in the state of Karnataka. It is a drum that provides rhythms in dance dramas like Yakshagana. It is played with the help of two sticks by placing it vertically on the floor. Chande rhythms are based on folk music and pre classical forms, and bear a close resemblance to Karnataka Sangeta. Different varieties of this instrument are found namely Badagu Thittu Chande and Thenku Thittu Chande.

Chenda
Chenda is another percussion instrument comprising of cylindrical wooden drum. It is played by hanging it vertically to the neck and beating the upper parchment. The instrument produces loud and rigid sound. Chenda is popular in temple festivals of Hindus and accompanies religious art forms and rituals Kerala. It also accompanies various dance forms like Koodiyattam, Theyyam, Kannyar Kali and Kathakali.

Electronic Tanpura
An Electronic Tanpura mimics the sound of Tanpura, a traditional string instrument of India. It is an essential commodity of Carnatic music and is a great substitute of real Tanpura. Electronic Tanpura is easier to use and is less expensive. G Raj Narayan was the inventor of this electronic instrument who demonstrated it for the first time at the annual conference of the Music Academy Chennai in December 1979. Electronic Tanpura serve greatly in the concerts as well as private practices.

Ghatam
Another popular percussion instrument used in Carnatic music is Ghatam. Ghatam is basically a clay pot having a narrow mouth. The walls of this pot must have even thickness for producing even tones. It is one of the oldest instruments of south India. Manamadurai, near Madurai, is the place where most of the Ghatams are manufactured. The technique of playing this instrument involves placing the pot over the lap with its mouth facing towards the belly. Rhythms having a fast tempo are played greatly with Ghatam.

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Vistar, Indian Classical Music

  

Vistar is regarded as the soul of Indian classical music. It is considered as having enormous importance in rendering music in all tradition of Indian music, especially Hindustani vocal music. The word 'Manadharma' meaning law of mind is a Sanskrit word that stands for the art of Vistar. Manadharma refers to the stage where musician raises himself to the level of imagination that remains quite distinct from logical thinking. He actually engages himself in a form of mental state that utilizes only the laws of aesthetics. It is at this level that the thinking and feeling both unites into one integrated process. This exclusive integrated process that is derived from the creation of music is what is known as the Manadharma.

The musician of Hindustani Music represents a raagaprimarily through the process of Vistar. The musicians are evaluated chiefly by their ability to improvise. The art of improvisation in music has been popular among many musical systems of the world that also includes those in the Middle East and Sub Saharan Africa and the gamelan music of Java and Bali. However the distinctive improvisatory style of Indian music or Vistar of Hindustani Music has been recognized and acknowledged by all as the most developed, most systematized and most sophisticated improvisatory style in the world.

Style of Vistar
The large amount of freedom that is given to the musician during the development of raaga makes it a distinctive pattern of in Hindustani Music. However at the same time strict rules are required to be followed to the last finite detail to maintain the purity of Raga during its presentation.

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Patiala Gharana, Khayal, Indian Music

  

Patiala is considered a branch of the Delhi gharana. Though essentially a sarangi gharana, the Patiala style achieved its all-round distinction and excellence in the hands of its greatest and yet-to-be-surpassed genius, Ustad Bade Ghulam Ali Khan (1901-1969). The founders of this gharana were the brothers Ali Baksh (1850-1920) and Fateh Ali (1850-1909), popularly known as 'Aliya-Fattu'. They had learnt music from Miyan Kallu, a well-known sarangi player in the Patiala court, who also taught them dhrupad. The Aliya-Fattu pair, also popularly called 'Karnail' (Colonel) and 'Jarnail' (General) owing to their uncompromisingly powerful way of singing extremely fast taans, were popular performers. Bade Ghulam's father Ali Baksh Kasurwale, learnt under both Fateh Ali and Miyan Kallu.

Bade Ghulam was initially trained by his father and later by Miyan Kallu. Yet Bade Ghulam belongs to that class of extraordinary singers, the dazzle of whose native gifts by far exceeded what he received from the tradition he inherited. His style and approach are to this very day synonymous with the colourful and zesty Patiala style. Next to Abdul Karim Khan, it was he who made a tremendous impact in the conservative South during the 1950's. Bade Ghulam is also credited with fashioning the Punjab-ang style of singing thumri. His proficiency in light classical forms, more than his other innate gifts, paved the way for his deification in the hearts of innumerable numbers in this country.

Following his death, Bade Ghulam's gifted son, Munnawar Ali Khan, continued the legacy until his death in 1989. Today singers like Jagdish Prasad, the Pakistani representatives, Fateh Ali, Ammant Ali and Hameed Ali Khan, Ajoy Chakravorty and the dazzling duo Javaad and Mazhar Ali Khan continue the Patiala legacy.

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Styles of Thumri

  

Styles of thumri have developed gradually along the course of the development of the art. Thumri has had a rather long tradition and can be traced right back to the age of classical Sanskrit plays and later to the Vaishnava Bhakti cult and the rasa natya. However, the Thumri as it is known today received great patronage, currency and shape during the days of Wajid Ali Shah when he was the Nawab of Lucknow, from 1847 to 1856. Its present tradition is also linked with Kathak dance and Thumri continues to be an essential feature of the Kathak nirtya. Thumri also evolved as a mode of vocal music without any recourse to the visual, i.e., acting or abhinaya, and aiming its expression only through music and words.

The gharana creed and convention does not have as much of a hold on Thumri as it does on the Khayal. The reason for this is that the nuances of Thumri are not easy to copy and have a subjective character in mood-expression. The Thumri sings of the viraha of Radha or the gopi; it is the main theme, and the effect is sensuous, emotional charged and deep. As for its spiritual significance, it is prema-bhakti, of the prakrti (the transient female element or atma) towards the purusa (the eternal male element; paramatma; god).

Types of Thumri
There are different types of Thumri that are practiced and are in vogue.

Banaras Anga Thumri: It very much suited to the emotive aspects, interpreting the song, the phrases, the words, even projecting several sancari bhavas through vocal techniques, called kaku-prayoga and bola-banava. It requires a non-obtrusive theka in slow tempo in the main phase of the rendering. This style of thumri is similar to the bada khayal, since its bola-banava (mobilizing the words), kahan (utterance), phrasing and rumination is centered round raaga-anga and mixes the main raaga-anga harmoniously and effortlessly, with the song without sudden flights.

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Thumri, Indian Music

  

Thumri is the most important "light classical" genre of North Indian Classical music. It is performed in many contexts, from the sphere of dance, to the vocal concert stage, to performance on instruments. The reason behind calling Thumri light classical are many and varied. One of the prime reasons is that the melodies are not always composed in a Raaga and the may break the rules in singing those that are. It has also been suggested that simpler talas and less weighty raagas are used for thumri. Yet another likely reason is that alap-type improvisation is not cultivated in Thumri, and alap is the real test of good musicianship. In addition, Thumri is traditionally accompanied by a harmonium. As the artist sings, he pumps a bellows at the back of the harmonium and reproduces the vocal melody on the keyboard with the other hand. The fixed pitches that the harmonium is restricted to are considered a serious threat to traditional melodic flexibility. Whatever the reason, Thumri provides light, enjoyable music with which to end a vocal or instrumental concert.

Origins of Thumri
Thumri was cultivated primarily in Lucknow and Varanasi in the nineteenth century, and it is possible to pinpoint differences between the styles of Thumri from those two places. Other regional styles have developed as well, for example, that of Punjab. Nowadays, audiences prefer to hear female vocalists sing Thumri. A full performing ensemble includes harmonium, usually played by the vocalist, tambura, tabla, and probably a Sarangi.

Text of Thumri
The texts of Thumri are romantic. They refer perhaps to Lord Krishna and his amorous pranks, or to "the beloved," who may (or may not) be Krishna. Other texts are unequivocally romantic: they contain no allegorical suggestions. One of the main tenets concerning thumri is that the text is most important. Each word is pronounced clearly, and every bit of feeling the text might express is brought out musically. This is a major difference between Thumri and Khayal.

Structure of Thumri
A Thumri is a brief composition consisting of sthai and one or more antaras with improvisation. Usually, the "more antaras" are additional text, which is sung to approximately the same antara melody. Most Thumri, however, have only sthai and antara. The sthai phrase proper is used at cadences to close each singer's turn. After the several repetitions of the sthai in variant forms, the amount of improvisation on the sthai text increases gradually and the middle and upper registers are explored. In that respect, this performance is very similar to medium-speed khayal. The antara is sung when the upper register has already been introduced in the improvisation, and it is presented partially at first, as a Khayal antara is likely to be.

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Tappa, Indian music

 

Tappa, understood to have been the staple diction of the erstwhile camel drivers, has since come to a ripened age, by being nurtured in the hands of some of the legendary masters in this genre. The word Tappa stands for jumping, bouncing and skipping, implying the extraordinary rule of unremitting attempts made by a singer on the musical notes, not stopping or taking a pause for once. This outstanding formation is unique to tappa only, absent in the other Hindustani classical forms. It is thus composed of rhythmic and rapid notes, and such a style calls for immense and extreme hold over the singing diction. A contrary to which can damage the whole recital. Tappa is very unlike khayal rendition, crisp and highly volatile in its nature. And the few exponents like Ghulam Nabi, Pt. Bholanath Bhatt or Girija Devi have thus become legends in their own right.

It is usually held that tappa is derived from the songs and tunes sung by the camel drivers of North West Punjab. These songs were composed in Punjabi and Pusthu and, like thumri, were amatory in spirit. The word tappa is derived from the root word tap, which means to 'jump', 'bounce', or 'rebound' in the manner of a bouncing ball.

History of Tappa
History of Tappa outlines the biographical sketches included in the epic work of Indian Music, by Dr. Thakur Jaydev Singh. According to him, Shorie Miya had four significant disciples: Prasiddhu Maharaj, Miya Gammu or Gammu Khan, Tarachand, and Mir Ali Saheb, Gammu Khan's son, Sadi Khan and Babti Ramsahay. He is considered as a member of the kathaka community who together with his brother Manohar Maharaj founded the Prasiddhu-Manohar lineage. Like the other lineages of Tappa singers, this lineage asserted significant musicianship in the mainstream genres of vocal music. Prasiddhu's great-grandson, Ramkrishna Mishra taught and performed in Kolkata till 1955.

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