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The Rudra Veena (Been)
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The Rudra Veena (or
Been) , which is the Vina of the North Indian music, is the oldest string instrument used
in Indian classical music. The instrument is depicted in the temple art of the 6th Century
A.D. There are also references to a bottle-gourd Veena in texts dated as far back as 500
B.C. This instrument has dominated Indian music for nearly 2000 years. According to
legend, the Been was created by the God Shiva while contemplating on the wondorous form of
his consort, the Goddess Parvati. The more popular sitar was developed from the Been in
about the 14th century. The present day Been features a hollow bamboo tube mounted on two
large gourds. These gourds act as resonators. The bamboo fret-board is about 22 inches
long and 2 and 1/2 inches wide. On this are nineteen to twentyfour frets set in beeswax.
Most Beens have 7 strings. Four of these are fretted and are used as the main melodic
strings. Two strings are used as rythmic strings (chikari ) and the seventh is a drone
string (laraj ). The strings are plucked with metal plectrums called mizrabs. The large
gourds generate a deep, sonorous sound that has a meditative quality to it. The Dhrupad
singers It is usually 5 or more tones lower than its younger cousin, the sitar. It has a
range of four to four and a half octaves. This vast range allows a master musician to
display all the nuances of a raga. Infact, the been is the only plucked instrument that
can reproduce the all the subtleties of the Dhrupad singing , which is considered by
Indian classical musicians as the purest musical sound and the foundation of all music. In
Dagar family there have been many singers who knew Been playing. In fact, there is a lot
of influense of Been playing on Dagar style of singing.
This was the reason for its importance in Indian music in the past. Despite its
ignificance, the Bin is played by few in India today. This may be due to due its rather
quiet tone, which is suited to majestic and meditative music. Moreover, the technique is
difficult and exacting, requring long training and practice. It's sister, the South Indian
Veena, still reigns supreme in Carnatic (south Indian classical ) music.
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The Pakhawaj
The Pakhawaj is a two-headed percussion
instrument that is primarily used to accompany Dhrupad music. The body is barrel shaped
and is made of heavy wood. Both its open ends are covered with animal-hide drum heads. The
heads are attached to the body by leather cords. These cords are also used to maintain
tension and to tune the drum to various pitches. The right head is coated with a paste,
which contains iron and the left head is coated temporarily with wet wheat flooor only
while playing. This makes the sound of pakhawaj deeper and resonanat.
The result is a drum with a vibrant, low tone. In the hands of a master, it's rhythm is
powerful and almost ecstatic. This provides an evocative basis for improvisation to the
main artiste.
The Pahkawaj is used to acommpany Dhrupad singing , the Been and also the Rabab, the
Surbahar as well as the Sitar played in the old style of Dhrupad. |
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| Surbahar  Surbahar
means 'melody of Spring' and the instrument was developed by Sahebdad Khan. The surbahar,
which is played in the noble style of dhrupad, with its wide range of over four octaves,
its richness of overtones, its majesty of utterance, can be regarded as the most
magnificent of all Indian instruments, capable of elevating the listener to a very high
level of spiritual experience.
The surbahar is in effect a bass sitar
and is played in a similar manner. The resonating chamber again consists of a gourd but in
this case the gourd, instead of being sliced downwards as in the sitar, is cut across the
top so that the back is flat. The neck is wider and longer than that of the sitar but its
frets are fixed. Thus, because the instrument is larger and has longer strings the sound
can be held much longer and this quality is further enhanced by pulling the strings across
the frets, at a right angle to the neck and so raising the pitch. In addition to its six
metal strings, of which four carry the melody and two the drone, and thirteen sympathetic
strings underneath, the surbahar has two extra bass strings which give an extra lower
octave. Because the surbahar produces a deep, dignified sound it lends itself to the alap,
jorh, and jhala portions of a raga.
With each instrument, assiduous practice
is necessary in order to develop the strength and technique to control the intonation and
quality of the notes produced from them. Mastership over any instrument requires years of
intensive and continuous practice (riyaz) and training (talim). This is a lifelong process
for the true Ustads and Pandits. |
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