Indian Dances

 The dance heritage of India is at least 5000 years old. A dancing girl figurine was found in the ruins of Mohenjodaro and is dated approximately 2nd Century B.C. Many group dancing sequences are depicted in exquisite rock paintings of Bhimbetaka caves of Madhya Pradesh

 Dance is a form of communication that brings out the inner most feelings and at the same time helps express what a civilization is all about. Indian Dances are all about connection of the mind with the soul. A dancer has to lead a very disciplined life. All the traditional dances still follow the rules set by Bharata Muni in his 'Natya Shastra'.

 The Indian Dance is one of the most well established arts and has been developing for nearly two thousand years!! The dances originated in the temples, where dancing was used to illustrate and depict various Hindu mythologies. The dances were performed by 'Devadasi's' or ladies who dedicated their life to the service of god. It is believed that the gods and goddesses not only appreciate dance but are great dancers as well! Over time, dances were used not only to express devotion to god, but also to portray one's emotion and state of mind.

India offers a number of classical dance forms, each one originating from a different part of the country. The most famous forms of classical dance are:

Classical Dances

1.Bharatnatyam

2.Oddisi 
3.kuchipudi
4.Mohiniattam 

5.Kathakali 

6.Manipuri

7.Kathak

1. Bharatnatyam

Origin:  Tamil Nadu
Dress:  Traditional costume has 3 fans of unequal length ( cascading between the legs)
Notes:  Considered to be the “fire dance” – where the dancer’s movements mimic a dancing flame; soft and sculptured poses; accompanied by Carnatic music, it is considered a devotional dance – the embodiment of music in visual form


2. Odissi

Origin:  Orissa
Dress:  The head piece (mahkoot) is unique to Odissi dance.  Dancers typically wear their hair in a bun and the headpiece consists of a flower-decorated backpiece as well as a longer piece that rises above the crown.  An elaborate silver belt is also worn.
Notes:  The concept of Tribhangi is a signature feature – it divides the body into 3 parts (head, chest and pelvis) and there are independent movements of these parts; accompanied by Odissi music

3. Kuchipudi

Origin:  Andhra Pradesh

Dress:  A single, long center pleat (between the legs); also has a katcham at the back and many times a side pleat

Notes:  More rounded poses as compared with Bharatanatyam; brisk movements; the Tarangam (where the dancer dances with feet set in a brass plate) is unique to Kuchipudi

4. Mohiniattam

Origin:  Kerala

Dress:  White with gold brocade border; sari appears more skirted

Notes:  Mohiniattam litterly means “dance of the enchantress;” subtle gestures and sensual, coy eye movements; typcially performed as a solo recital by a woman; accompanied by vocal music, with lyrics being a mixture of Sanskrit and Malayalam

5. Manipuri

Origin:  Manipur

Dress:  A tubular lehenga layered with a transparent silk pasuan, along with a transparent odhini through which the dancer’s facial expressions can easily be seen.

Notes:  The raslila (where Lord Krishna dances with Radha) is a central theme; delicate rounded movements where the dancers feet do not strike the ground hard; no ghungroos (ankle bells) are worn

6. Kathakali

Origin:  Kerala

Dress:  Very large, heavy and elaborate, accompanied by painting of the face; there are 4 basic divisions:  Heros (characterized by green makeup), Villains (green face with streaks of red on the cheeks, or red or black faces), Females (basic pink or yellow makeup – no mask) and Superhumans (like Hunuman – may have a white beard).

Notes:  Kathakali literally means story-play or dance-drama; primary purpose is to narrate a story; the characters themselves never speak, but the perfomance is danced to musical compositions containin dialouge and narration

7. Kathak

Origin:  North India

Dress:  There are 2 kinds of costumes:  a traditional lehenga-choli and a Mughal anarkali-style with a long skrited top and fitted chudidaar.

Notes:  Origins can be traced back to Kathaks (nomadic storytellers); dancer directly addressed the audience; slow and subtle movements along with vigorous footwork and pirouettes; performance starts off slow and progresses to a fast tempo, ending in a dramatic climax; 3 main gharanas (schools):  Jaipur, Lucknow and Benaras

Folk Dances 

India also has a number of folk dances, performed by ordinary people and tribal people.

1.Bathakamma - A folk dance of Andhra Pradesh.

2. Bihu - Bihu is a folk dance from Assam. It is a very brisk and aggressive dance performed by both boys and girls.

3. Bagurumba - This is a folk dance from Assam. It is performed by the Bodos and is known for its colourful attire.

4. Bhangra - This is a folk dance from the Northwest Indian state of Punjab. It is a lively, powerful dance.

5. Chah Baganar Jumur Nach - This is a Dance from Assam. It is a dance of the tea garden.  

6. Changu - The changu dance is a folk dance found in Odissa and Andhra Pradesh. It derives its name from the changu, which is a simple tambourine (daf)  that is used to accompany this dance.

7.Dandaria - A folk dance of Andhra Pradesh.

8. Dasakathia - This is a folk theatre of Odissa. It is performed by a pair of performers who entertain the audience with dance, songs, and stories.

9. Dhamal - A folk dance of Andhra Pradesh.

10. Gair - This is a dance of Rajasthan. It is performed by groups of dancers moving in and out with an almost military precision.

11.Garba - This is a folk dance from Gujarat. It is traditionally danced at marriages and during the time of Navaratri.

12. Geendad - This is a folk dance of Rajasthan. It is very similar to the Gair.

13.  Ghoomar - This is a folk dance of Rajasthan. It derives its name from its characteristic pirouettes.

14.  Ghanta Patua - This is a folk dance of Odissa. Its name is derived from the large brass gongs known as ghanta. It is performed in the Hindu month of Chaitra. This dance is most notable because it is performed on stilts

15. Gobbi - A folk dance of Andhra Pradesh.

16. Jhoomar - This is a dance of the Mundas and Mahantas of Odissa.

17.  Kacchhi Ghodhi - This is a folk dance of Rajasthan that is performed with a dummy horse.

18.  Kandhei - (see Sakhi Nata)

 19. Kavadi - This is a folk dance of Tamil Nadu. It is played with a wooden pole upon which are tied two pots. The stick is then balanced upon the shoulder.

 20. Karagam - This is a folk dance of Tamil Nadu. It is played with a pot balanced on the head.

21.  Kela Keluni - This is a dance performed by the Kelas of Odissa.

22.  Mathuri - A folk dance of Andhra Pradesh.

 23. Raas - This is a folk dance from Gujarat. It is traditionally danced at marriages and during the time of Navaratri.

24.Sakhi Nata - This is the puppet dance of Odissa.

 25.Terahtali - This is a folk dance of Rajasthan. It is performed by women while they are seated.

26.  Therukoothu - This is a folk theatre from the south Indian state of Tamil Nadu.

27.  Yaksha Gana - This is a folk theatre from the south Indian state of Karnatika.

Goblet drum

The goblet drum   is a single head membranophone with a goblet shaped body used mostly in the Middle East, North Africa, and Eastern Europe.^[1] The African djembe-wassolou is also a goblet membranophone.^[2]This article focuses on the Eastern and North-African goblet drum.

Characteristics

This hand drum has a thin drumhead, that helps to produce a distinctively crisp sound, and a chalice cavity that helps to obtain a bass resonance. Traditionally, goblet drums may be made of pottery, wood, or metal. Modern goblet drums are also sometimes made of synthetic materials, including fiberglass. Modern metal drums are commonly made of aluminum (either cast, spun or formed from a sheet) or copper. Some aluminum drums may have a mother-of-pearl inlay, which is purely decorative. The bottom is open, and the skin drum head is directly attached by nails or glue. Traditional skin heads were commonly made of goat and fish. Modern drums commonly use synthetic materials for drum heads, including mylar and fiberglass.^[3]The body of the Dumbek is made of nickel, ceramic, or compressed aluminum. The head may be fish-skin, goat-skin or plastic. The model many professionals use, is compressed aluminum with a plastic head, and can be tuned. The Dumbek is typically about 18" high (approx 46cm) with a head of 10" (approx 25cm) in diameter.

History

The origin of the term darabukka probably lies in the Arabic word darba ('to strike'). The original use of goblet drums in Babylonia and Sumeria dates from as early as 1100 BCE. On Celebes one large form serves as a temple instrument, set on the floor when performed, which could be a survival of the ancient use of the drum .^[4] There has also has been some debate that they actually originated in Europe and were brought to the Middle East by nomadic Celtic tribes.

Technique

Derbekkeh from Jerusalem, 1859. From Thomson, p. 580.

 

The Eastern and North-African goblet drums are played under the arm or resting on the player's leg, with a much lighter touch and quite different strokes (sometimes including rolls or quick rhythms articulated with the fingertips) than hand drums such as the djembe, found in West Africa.
There are two main types of goblet drums. The Egyptian style has rounded edges around the head, whereas the Turkish style exposes the edge of the head. The exposed edge allows closer access to the head so finger-snapping techniques can be done, but the hard edge discourages the rapid rolls possible with the Egyptian style.
The goblet drum may be played while held under one arm (usually the non-dominant arm) or by placing it sideways upon the lap (with the head towards the player's knees) while seated. Some drums are also made with strap mounts so the drum may be slung over the shoulder, to facilitate playing while standing or dancing. It produces a resonant, low-sustain sound while played lightly with the fingertips and palm. Some players move their fists in and out of the bell to alter the tone. There are a variety of rhythms (see dumbek rhythms) that form the basis of the folkloric and modern music and dance styles of the Middle East.
There are three main sounds produced by the goblet drum. The first is called the 'doum'. It is the deeper bass sound produced by striking the head near the center with the length of the fingers and palm and taking off the hand for an open sound. The second is called the 'tek' and is the higher-pitched sound produced by hitting near the edge of the head with the fingertips. A 'tek' struck with the secondary hand is also known as a 'ka'. The third is the closed sound 'pa', resting rapidly the hand on the head to not permit an open sound. Additionally, there are more complex techniques including snaps, slaps, pops and rolls that are used to ornament the basic rhythm. Hand clapping and hitting the sides of the drum can be used in addition to drumhead sounds.
Another technique commonly used in Greece, Bulgaria, Turkey and Egypt is to tap with the fingers of one hand and with a thin stick in the other. In Turkey the stick is called the çubuk, which means wand, or stick. The Romani of most of the countries associated with the goblet drum use this technique.

Use in Western classical music

The first known Western classical composition to feature a goblet drum is the opera Les Troyens (1856–1858) by the French composer Hector Berlioz, which calls for a tarbuka in the Dance of the Nubian Slaves in Act IV.
The first compositions for goblet drum and orchestra were composed by Halim El-Dabh in the 1950s; his Fantasia-Tahmeel for goblet drum and strings was premiered in New York City in 1958, with a string orchestra conducted by Leopold Stokowski.

Gallery

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  Egyptian tabla
  
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  Turkish darabuka
  
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  Moroccan darbuka
  
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  Lybian darbuka
  
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  Iranian tombak or zarb
  
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  Indian tumbaknaer
  
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  African djembe
  
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  Man playing a doumbek
  

Tabla

The tabla  is a popular Indian percussion instrument (of the membranophone family, similar to bongos), used in Hindustani classical music and in popular and devotional music of the Indian subcontinent. The instrument consists of a pair of hand drums of contrasting sizes and timbres. The term 'tabla is derived from an Arabic word, tabl, which simply means "drum." In Other Asian Countries such as Indonesia, the Tabla is mainly used in Dangdut songs and music. ^[1]
Playing technique involves extensive use of the fingers and palms in various configurations to create a wide variety of different sounds, reflected in the mnemonic syllables (bol). The heel of the hand is used to apply pressure or in a sliding motion on the larger drum so that the pitch is changed during the sound's decay.


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 History 

                                           
 
The tabla was invented in India. The carvings in Bhaja Caves in the state of Maharashtra in India shows a woman playing Tabla and another performing a dance, dating back to 200 BC. Rebecca Stewart^[2] suggests that it was most likely a product of experiments with existing drums such as pakhawaj, Mridang, dholak and naqqara. The origins of tabla repertoire and technique may be found in all three and in physical structure there are also similar elements: the smaller pakhawaj head for the dayan, the naqqara kettledrum for the bayan, and the flexible use of the bass of the dholak.
A common myth says that the 13th century Indian poet Amir Khusrau as the inventor of the tabla.^[3] He split the mridangam or the pakhawaj in two. ('thoda, tab bhi bola - tabla': 'When broke, it still spoke' - a fairly well known Hindi pun). However none of his writings on music mention the drum. Apparent tradition of late invention, combined with the absence of the instrument in South Indian music, and that the tabla closely resembles a Mridanga cut into two,the closed-ended, paired design that relates it to the Western clay-drums and timpani, possibly suggest the view that the tabla is a comparatively recent development in northern Indian music. Other accounts place the invention of this instrument in the 18th century, and the first verifiable player of this drum was Ustad Suddhar Khan of Delhi. All above accounts are now regarded as incorrect with the carvings found in Bhaja caves providing a stable proof use of Tabla in ancient India at least since 200 BC.
The Muktesvara temple (6th-7th century) and Bhuranesvara (and three other cave temples) of Badari in Mumbai(6th century) contain depictions of the puskara drum. Musicians often placed the puskara's smaller vertical drum (called 'alinga'), on their lap and played more than one drum at a time. Similar regional instruments include the Punjabi dukkar, the Kashmiri dukra, the duggi in eastern Uttar Pradesh, and the mridangam. The mridang, the predecessor of the pakhavaj, is the principal drum in Carnatic music. The dhol (dholak) of eastern Afghanistan is related in terms of both construction and playing style. The main distinction of the tabla is the pairing of two different types of single-headed drums, whereas the dukkar, dukra, and duggi are pairs of the same type and the mridangam and dhol are double-headed, barrel-shaped drums.

Nomenclature and construction

The smaller drum, played with the dominant hand, is sometimes called dayan (literally "right"), dāhina, siddha or chattū, but is correctly called the "tabla." It is made from a conical piece of mostly teak and rosewood hollowed out to approximately half of its total depth. The drum is tuned to a specific note, usually either the tonic, dominant or subdominant of the soloist's key and thus complements the melody. The tuning range is limited although different dāyāñ-s are produced in different sizes, each with a different range. Cylindrical wood blocks, known as ghatta, are inserted between the strap and the shell allowing tension to be adjusted by their vertical positioning. Fine tuning is achieved while striking vertically on the braided portion of the head using a small hammer.
The larger drum, played with the other hand, is called bāyāñ (literally "left") or sometimes dagga, duggī or dhāmā. The bāyāñ has a much deeper bass tone, much like its distant cousin, the kettle drum. The bāyāñ may be made of any of a number of materials. Brass is the most common, copper is more expensive, but generally held to be the best, while aluminum and steel are often found in inexpensive models. One sometimes finds that wood is used, especially in old bāyāñs from the Punjab. Clay is also used, although not favored for durability; these are generally found in the North-East region of Bengal.
The name of the head areas are:

• chat, chanti, keenar, kinar, ki
• sur, maidan, lao, luv
• center: syahi, siaahi, gob

Both drum shells are covered with a head (or puri) constructed from goat or cow skin. An outer ring of skin (keenar) is overlaid on the main skin and serves to suppress some of the natural overtones. These two skins are bound together with a complex woven braid that gives the assembly enough strength to be tensioned on the shell. The head is affixed to the drum shell with a single cow or camel hide strap laced between the braid of the head assembly and another ring (made from the same strap material) placed on the bottom of the drum.
The head of each drum has a central area called the Syahi (lit. "ink"; a.k.a. shāī or gāb). This is constructed using multiple layers of a paste made from starch (rice or wheat) mixed with a black powder of various origins. The precise construction and shaping of this area is responsible for modification of the drum's natural overtones, resulting in the clarity of pitch (see inharmonicity) and variety of tonal possibilities unique to this instrument which has a bell-like sound. The skill required for the proper construction of this area is highly refined and is the main differentiating factor in the quality of a particular instrument.

Main article: Syahi

For stability while playing, each drum is positioned on a toroidal bundle called chutta or guddi, consisting of plant fiber or another malleable material wrapped in cloth.

Tabla notations

Hindustani Classical Music has two standard notation systems as Pt. Bhatkhande and Pt. Paluskar notation system. The same notation system is used for notating Tabla.

Basic strokes

Some basic strokes with dayan on right side and bayan on left side are:

• Ta: (on dayan) striking sharply with the index finger against the rim
• Ghe or ga: (on bayan) holding wrist down and arching the fingers over the syahi, the middle and ring-fingers then strike the maidan (resonant)
• Tin: (on dayan) placing the last two fingers of the right hand lightly against the syahi and striking on the border between the syahi and the maidan (resonant)
• Dha: combination of Ta and Ghe
• Dhin: combination of Tin and Ghe
• Ka or kit: (on bayan) striking with the flat palm and fingers (non resonant)
• Na or ta: (on dayan) striking the edge of the syahi with the last two fingers of the right hand
• Tit: (on dayan) striking the center of the shahi with the middle finger
• Ti: (on dayan) striking the center of the shahi with the index finger (resonant)

(Playing style vary depending on Gharana)

Gharānā — tabla tradition

The term gharānā is used to specify a lineage of teaching and repertoire in Indian classical music. Most performers and scholars recognize two styles of tabla gharana: Dilli Baj and Purbi Baj. Dilli (or Delhi) baj comes from the style that developed in Delhi, and Purbi (meaning eastern) baj developed in the area east of Delhi. Delhi Baj is also known as Chati baj (Chati is a part of Tabla from where special tone can be produced).
Musicians then recognize six gharānās – schools or traditions – of tabla. These traditions appeared or evolved in presumably^{[citation needed]} the following order:

1. Delhi gharānā
2. Lucknow gharānā
3. Ajrara gharānā, later followed by
4. Farukhabad gharānā
5. Benares gharānā
6. Punjab gharānā
7. Purab gharānā, (Purab baaj)

Other tabla performers have identified further derivations of the above traditions, but these are subjective claims not universally recognized.^{[citation needed]} Some traditions indeed have sub-lineages and sub-styles that meet the criteria to warrant a separate gharānā name, but such socio-musical identities have not taken hold in the public discourse of Hindustani art music, such as the Qasur lineage of tabla players of the Punjab region.
Each gharānā is traditionally set apart from the others by unique aspects of the compositional and playing styles of its exponents. For instance, some gharānās have different tabla positioning and bol techniques. In the days of court patronage the preservation of these distinctions was important in order to maintain the prestige of the sponsoring court. Gharānā secrets were closely guarded and often only passed along family lines. Being born into or marrying into a lineage holding family was often the only way to gain access to this knowledge.
Today many of these gharānā distinctions have been blurred as information has been more freely shared and newer generations of players have learned and combined aspects from multiple gharānās to form their own styles. There is much debate as to whether the concept of gharānā even still applies to modern players. Some think the era of gharānā has effectively come to an end as the unique aspects of each gharānā have been mostly lost through the mixing of styles and the socio-economic difficulties of maintaining lineage purity through rigorous training.^{[citation needed]}
Nonetheless the greatness of each gharānā can still be observed through study of its traditional material and, when accessible, recordings of its great players. The current generation of traditionally trained masters still hold vast amounts of traditional compositional knowledge and expertise.
This body of compositional knowledge and the intricate theoretical basis which informs it is still actively being transmitted from teacher to student all over the world. In addition to the instrument itself, the term tabla is often used in reference to this knowledge and the process of its transmission.

Jori / Jodi and Dhama style tabla

Next to the contemporary common style of tabla, there exist older styles in which the bayan (called Dhama or Dhamma) is often made out of wood. Instead of having a thin dry syahi, this style of tabla uses a wet wheat dough on the bass drum's skin. The dough is applied shortly before playing. These types of (Jori) tabla are used by Qawwali ensembles (notably Dildar Hussain), Sikh, Pakhawaj inspired Tabla Gharanas (Punjabi Dhrupad), Gurbani Kirtan and Afghan traditional folk music. A reminder that this style of tabla was used all over India not long ago is that many modern brass tuning hammers still have a dough removal spatula on the reverse end.

Tabla terminology

• Pandit - a master of the tabla technique and gharana, or school. Muslims are honored by the title Ustad.
• Gharana - any of the six schools (Punjab, Delhi, Benares, Ajrara, Lucknow, Farukhabad) of tabla.
• Syahi - the black spots on the tabla, also called gab. Composed of a dried paste derived from iron filings and applied in several separate layers to the head of the drum.
• Keenar - the outer ring of skin on the head of each of the two tabla drums. In Hindi, known as the chat.
• Sur - The area between the gaab and the keenar. In Hindi, known as the maidan.
• Bol - both mnemonic syllables and a series of notes produced when stroked. E.g. Na, tin, Dha, Dhin, Ge, Ke, etc.
• Theka - a standard series of bols that form the rhythmic basis of tabla accompaniment for a given tala.
• Rela - a sort of rapid drum-roll.
• Chutta - the cushions used when placing the tabla.
• Baj, Baaj, or Baaz - a style of playing, different from the gharānā. Two main styles developed, Purbi Baj and Dilli Baj. Dilli, or Delhi, baj is the *style of bols and playing that originated in the city of Delhi. Purbi (meaning "eastern") developed in the area east of delhi. Both have different ways to play bols.
• Bāyāñ or Duggi- The metal drum providing the bass notes in tabla.
• Dayan or Tabla - The wooden drum providing the treble notes in tabla.
• Lay (or Laya) - tempo.
• Tala (or Tāl) - rhythm cycle; meter. Example: Dadra Tala, Ada Chautal, Teental, and the most common, Keherwa.
• Sam - the first beat of a tāl.
• Vibhag - Taal division.
• Tāli - clap.
• Khali - off or no claps.
• Ghatta - Wooden dowels used to control the tension.

 

Raagas

Although the total number of raags in Hindustani classical music was as big as 300, several of them have been lost over the centuries. About 100 raags are known and performed these days. The following list contains most of them. Complete formats, bandishes and popular songs have been provided for many raags. Names of such raags are underscored. Simply click on the name of a raag to see its complete details. Audio clips are also provided to illustrate several details. We’ll keep adding details for more raags with time. While classification of most raags in thaats is universally accepted, opinions vary among the experts for some raags. The same is true about performance times of some raags. The list is sorted alphabetically by raag name. You can sort the list by thaat or performance time by clicking on the column headers.

Raaga Thaat Performance Time   Adana Asavari Night Ahir Bhairav Bhairav Morning Asavari Morning Bageshri Kafi Night Bahar Kafi Night Bairagi Bhairav Bhairav Morning Basant Poorvi Night Basant Mukhari Morning Bhairav Bhairav Morning Bhairavi Bhairavi Any Time Bhankar Bhairav Morning Bhatiyar Bhairav Morning Bhimpalasi Kafi Afternoon Bhinna Shadja Khamaj Night Bhoopal Todi Bhairavi Morning Bhoopali Kalyan Evening Bihag Kalyan Night Bilaskhani Todi Bhairavi Morning Bilawal Bilawal Morning Chandani Kedar Kalyan Night Chandrakauns Night Charukeshi Chhayanat Kalyan Night Darbari Asavari Night Desh Khamaj Evening Deshkar Bilawal Morning Desi Asavari Morning Dhani Kafi Any Time Durga Bilawal Night Gara Khamaj Gaud Malhar Kafi Monsoon Gaud Saarang Kalyan Afternoon Gorakh Kalyan Khamaj Night Gunakri Bhairav Morning Gurjari Todi Todi Morning Hamir Kalyan Night Hansdhwani Bilawal Evening Hindol Kalyan Morning Jaijaiwanti Khamaj Night JanaSammohini Jaunpuri Asavari Morning Jhinjhoti Khamaj Night Jogiya Bhairav Morning Kafi Kafi Any Time Kalavati Khamaj Night Kalingada Bhairav Morning Kamod Kalyan Evening Kedar Kalyan Night Khamaj Khamaj Evening Kirwani Night Lalit Poorvi Morning Madhuvanti Todi Afternoon Madhyamad Sarang Kafi Afternoon Malgunji Kafi Night Malhar Kafi Night Malkauns Bhairavi Night Malkauns Pancham Bhairavi Night Mand Bilawal Any Time Maru Bihag Kalyan Evening Marwa Marwa Afternoon Miyan Malhar Kafi Monsoon Multani Todi Afternoon Nand Kalyan Night Nat Bhairav Bhairav Morning Pahadi Bilawal Evening Patdeep Afternoon Piloo Kafi Any Time Poorvi Poorvi Afternoon Puriya Marwa Evening Puriya Dhanashri Poorvi Evening Rageshri Khamaj Night Sham Kalyan Kalyan Evening Shankara Bilawal Evening Shivranjani Kafi Night Shri Poorvi Afternoon Shuddh Kalyan Kalyan Evening Shuddh Sarang Kalyan Afternoon Sohni Marwa Morning Tilak Kamod Khamaj Night Tilang Khamaj Evening Todi Todi Morning Vibhas Bhairav Morning Vrindavani Sarang Kafi Yaman Kalyan Evening Yaman Kalyan Kalyan Evening

Harmonium

Pakrashi's Professional Harmonium

The Harmonium is a small, manually-pumped musical instrument using fixed reeds to create the basic sounds. There are two main types of harmonium: a foot-pumped version that resembles a small organ, and a hand-pumped portable version that can fold up for easy transport. The hand-pumped portable version is very popular with Kirtan Jathas along with the Tabla and these form the main type of instruments used by Ragis during the performance of Kirtan.
The Harmonium was invented in Europe in Paris in 1842 by Alexandre Debain, though there was concurrent development of similar instruments elsewhere. During the mid-19th century missionaries brought hand-pumped harmonium to India, where it quickly became popular due to its portability and its low price. Its popularity has stayed intact to the present day, and the harmonium remains an important musical instrument in many types of Indian music, as well as being commonly found in Indian homes.
In Indian music, the Harmonium is considered to be one of the most versatile instruments. The harmonium is used in classical, semi-classical, and devotional music. It is usually used as an accompanying instrument for vocalists in classical music. However, some musicians have begun playing the harmonium as a solo instrument. One of the largest pioneers of this style is Pandit Tulsidas Borkar of Mumbai. More and more music students are learning in this fashion.
Harmoniums consist of banks of reeds (metal bands which vibrate when air flows over them), a pumping apparatus, stops for drones, and the keyboard. The harmonium functions mostly like an accordion. In order to play the instrument, one must pump air into the instrument and press the desired keys. The sound of the harmonium is unique, and improves over time as the instrument ages.
The number of reed banks is up to the particular person. Some harmoniums use 1 reed, 2 reeds, and 3 reeds. This refers to the number of reed sets there are in the instrument. Classical instrumentalists usually use 1-reed harmonium, while a musician who plays for a qawaali (Islamic devotional singing) usually uses a 3-reed harmonium.

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The harmonium is popular kind of sushir vad. The word harmonium is derived from the Greek word "harmony" which is the basis of western music and implies simultaneous sounding of several notes or the accompaniment of a melody by chords.
The harmonium has the appearance of a box out of which music can be produced. It is a reed-blown instrument like a large harmonica with mechanical bellows and keyboard. It is said that the harmonium was first produced in Paris in 1840 by Alexandre Debain. He devised a bellows worked by the player's feet to force air into a wind-chest and then through channels opened or closed by means of a keyboard. The notes are produced by reeds made of steel. The bellows is either worked by feet or hand. When the keys are touched and bellows is inflated, the air passes through the inner reeds and produces twelve notes (seven shudh, four komal and one teevar).
The harmonium has either single reed or double reeds. In case of double reeds, two notes of the same type, in two saptaks are produced simultaneously. Generally, a harmonium has three or three and a half saptaks. This instrument is very easy to handle and is very popular in North India. The beginner can easily play it and learn both vocal and instrumental music. The instrument has fixed notes and its tones cannot be changed. The harmonium can be used also an accompaniment of a vocalist. Any svara (note) can take the place of S and the raga played accordingly.
The twelve notes of the harmonium are not natural notes but are a tempered scale. In the saptak, the difference between S and R and again between R and G and so on has been(figures) to consistent and equal degree. The main defect of this instrument is that it has twelve artificial notes though they correspond to the twelve natural notes (as for instance on a sitar). With the accompaniment of harmonium-notes, the svaras of vocal music also tend to be artificial.
By playing the harmonium, the human voice becomes artificial, because according to the tradition of Indian classical music, the real notes of 22 shruties should be produced. There are certain notes in classical music which cannot be reproduced by the harmonium, for example _G_ in raga tod, M in raga Lalit, etc. Therefore, practice of svaras on the harmonium tends to make the svaras unnatural or unreal. Many classical singers frown at the use of harmonium.
For Strange ways condemns the use of the harmonium and regards it as a serious means of Indian music. He remarks "Besides its deadening effect on a living art., it falsifies it by being out of tune with its itself." [2]
It is not good to practise svara-sadhana (note modulation) on the harmonium. It is better to practise the svaras on the tamboora. When the strings are touched, they vibrate and the note continues to sound for a while, but in the case of the harmonium, the tone starts for a while, but in the case of the harmonium, the tone starts with inflation of the bellows and when the bellows stop, the note comes to an end.
Meend (glide from one note to another) and gamak (delicately mixing svaras in a raga) are not possible on a harmonium and as such, richness and excellence of melody is unavailable. This instrument is not good for accompaniment of vocal music, because it cannot reproduce the various delicate shades of vocal music. It is better to use a sarangi or bela (a kind of violin) for the accompaniment of vocal music.

harmonium, also called Reed Organ,  free-reed keyboard instrument that produces sound when wind sent by foot-operated bellows through a pressure-equalizing air reservoir causes metal reeds screwed over slots in metal frames to vibrate through the frames with close tolerance. There are no pipes; pitch is determined by the size of the reed. Separate sets of reeds provide different tone colours, the quality of the sound being determined by the characteristic size and shape of the tone chamber surrounding each reed of a given set; constricted chambers, for instance, induce powerful vibration and incisive tone. Volume is controlled by a knee-operated air valve or directly from the bellows pedals by an expression stop that allows the wind supply to bypass the reservoir. The instrument’s compass is normally four to five octaves.
The earliest instrument of the harmonium group was the physharmonica, invented in 1818 by Anton Haeckl in Vienna. His invention was inspired by the Chinese mouth organ, or sheng, which, taken to Russia in the 1770s, had introduced the free reed to Europe and aroused the interest of certain physicists and musicians. Now extinct, other types (such as John Green’s seraphine) appeared before Alexandre Debain produced his harmonium in Paris in 1840. The main improvements after 1850 were made by Victor Mustel in Paris and Jacob Estey in the United States.
The harmonium was a popular church and household instrument until the electronic organ drove it from the market after the 1930s. Compositions for the instrument include numerous works by the French composers César Franck and Louis Vierne and a quartet for two violins, cello, and harmonium by the Bohemian composer Antonín Dvořák.

Harmonium

Introduction of the Harmonium
Harmonium is not native to India the British introduced this instrument to India during the colonial period. Indian artist quickly adopted this instrument and modified it according to their style and needs. The original harmoniums brought to India were of two basic types, those with a hand bellows and those with a foot pump. Though the foot pump model
was more popular with Western musician it has draw back for the Eastern musician. In this model it was required to place up the harmonium on a table and the musician seated in a chair. Indian music is traditionally played from a position seated on the floor. In this condition the relevance of foot pump became negligible. Thus the Indian artist modified harmonium by removing foot pump and adding some other features such as drone stops and a scale changing mechanism. Today it is widely used in all forms of Indian music be it classical, Hindustani, devotional or film music. 

Description of the Harmonium

Harmonium belongs to the family of free-reed aerophones. It is a small, tabletop size, organ with bellows at the back that is pumped by one hand while the other hand plays the keyboard. It contains multiple chambers inside with different banks of free reeds in each chamber. The size and shape of each reed in the bank determines its pitch. Engaging Stops directs the airflow to various chambers. Each playing Key and each Drone controls the air through one or multiple reeds within a chamber. When engaged, Drones provide a continual harmony note and are played in unison with the keyboard.

Parts of the Harmonium
Body - The body is the wooden box that contains the various parts of the harmonium.  There are two basic styles of the box one is a simple box with everything in a fixed position and another is a suitcase style of enclosure. This box or cover prevents dust from entering into keys or other parts. Most, but not all models come with covers.

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.

Bellows - The bellows are collapsible cardboard enclosures with the help of which air is passed through the reeds.  There are really two sets of bellows, one internal and one external. When pumped by hands the external bellows 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 also known, as "chabi" in India are the small wooden controls that the performer fingers to play the music.  There are black keys and white keys. 

Stops (main) – The main stops are a series of valves which control the way that air flows in the instrument. These Stops control the airflow to the various banks of reeds. There are usually a minimum of one stop per reed chamber; although there can be multiple stops for a chamber. Multiple stops may simply allow more air to a chamber for a more powerful sound, or they may control special functions, such as tremolo.

Stops (drone) - The drone strops are the most distinguishing feature of Indian harmoniums.  The drone strops are usually the knobs on the bottom of the front of the instrument. These stops control the flow of air over un-keyed reeds.  When engaged they provide a continual drone of a harmony note. 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.

Reeds - The reeds a series of thin brass tongue set into the opening of 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. The thin tongue vibrates when air passes through the opening. Small thin reeds have a higher pitch than wider longer thicker reeds. 

Reed Board - The reed board is a flat piece of wood with a series of long holes that are covered with brass reeds. 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.  Usually the triple-reed harmonium is considered to be superior to the double-reed variety. 

Coupler – Coupler is a mechanical feature, which allows double key function. It automatically presses the corresponding key of the next octave when any key is pressed. The result is that playing one key engages two reeds simultaneously. This arrangement produces a much richer sound than an uncoupled keyboard. The coupler may be engaged or disengaged by the user.
 

Scale Changer – This is an elaborate mechanical arrangement whereby the entire keyboard may be shifted up or down. The keys are connected with cloth tape allowing them to be slid up or down the scale from note to note. One can easily change the key of a musical piece by sliding the keyboard, rather than learning a new fingering technique. But a precaution should be taken while buying scale-changing harmonium, as the failure rate is very high rather deplorable!

Playing the Harmonium
There are two common playing positions a standard position and one used by qawwali singers in India. In standard position the harmonium is placed on the ground and player sit in front of it in cross leg position. In this position usually the right hand plays the keys while the left hand pumps the bellows. You can play the keys with your dominant hand also. In the second position used by Indian qawwali singers or folk artists the end of the harmonium rests on the ground while the other end rest partially in the lap. You can also place the harmonium on a table and sit in a chair while playing.

Care and Caution
The harmonium has a number of delicate parts that are made of cloth or leather and thus requires proper care to ensure durability. Here are the some general tips for your harmonium:
1. Harmonium should be kept in a cool (never below freezing) and dry place free of insects. Use a cover or box for storage.

2. Use the harmonium regularly, move all stops and play all keys. If not being used everyday, it should at least be cleaned or kept in a clean place free
   of dust, which can cause buzzing in the reeds or otherwise wear in the exterior finish of the harmonium.

3. Before you start to play, pump the external bellows to fill the internal bellows until some pressure builds up.

4. Never expose the harmonium to direct sunlight. This will damage the outside surface of polish.

5. Keep it out of the range of children don't allow them to hit the keys or over-pump the bellows.

6. Don't tamper with the springs, action regulating screws, or reeds it can cause buzzing.

7. Don't turn the damper or drone knobs, as this will cause air leakage.

8. The instrument itself is hand crafted of wood, which can react to the changes in moisture and temperature.

HARMONIUM

Standard Harmonium		Harmonium with Coupler
Scale Changer Harmonium foldable

The Harmonium is an instrument that is indispensable in India and that is used in the religious field, in classical music, in folklore and for playing within the family. It owes its popularity mainly to its easy handling. The Harmonium can be compared in its functioning to the accordeon. Air is pumped into an enclosed space by means of bellows. With a keyboard it is possible to open specially defined holes, through which the pumped air is then pressed. The reeds attached to the openings (double, triple or quadruple reeds) are set vibrating and so produce the desired note.

TARANG has reduced the big range of Harmoniums from many different manufacturers as the quality of the product line "PALOMA" is so convincing that we decided to mainly go with that models. An exeption is the standmodel of Manoj Kumar Sardar which has an octave coupler.

FOLDABLE HARMONIUMS AND STAND MODELS
Many years we offered mainly the folgable harmoniums of different makers as the fact that many clients want to carry their instrument or travel with it made it obvious for us to concentrate on this models. But as this harmoniums are higher in weight and in price and because due to the more of machanical parts more problems can arise we now changed our mind and offer mainly stand models which causes less problems and which are also very good for transportation in connection with the new flexible carry bag from Paloma. As the weight of the harmonium is also less then that of the foldable ones we think that is a good decition to go on. The only foldable Harmonium we have is the scale changer from Paloma. With that instrument we had continnous good experience and we are able to recommend it highly.

STANDARD HARMONIUM
Standard model we have from Paloma. This is an excellent instrument in good workmanship and good sound quality.

PREMIUM HARMONIUM
Compared to the standard model this instrument has higher-value features. Compared to the standard model of the same manufacturer this instrument has substantially better mechanics and quality of workmanship.

COMPACT TRAVEL HARMONIUM
This instrument is very well suited for mobile use. The travel model is supplied with a protective flexible carry case to protect it when transported and against dust and scratches. It has much less weight and is smaller then the other instruments, yet it is a high quality Harmonium with full sound range. .

HARMONIUM WITH COUPLER
As there is no Paloma harmonium with coupler available, only the more expensive scale changer we offer an instrument from Momoj Kumar Sardar. The possibility of using the coupler enables the player to activate the next lower octave at the same time which results in having up to six reeds resounding simultaneously. So the coupler makes it possible to produce, together with the double or triple reeds, a particularly powerful, voluminous sound.

SCALE-CHANGER-HARMONIUM
The scale-changer model is foldable and its special features are a particularly careful workmanship and a harmonious and full sound pattern. The keyboard has 42 keys and so supplies you with a tonal range of 3 1/2 octaves. 5 adjustable drones are possible. Triple or double reeds make sure that every note is provided with three/two reeds (for high, middle and low octave respectively). Three registers with different settings make various timbres possible by blowing the reeds either separately or in any number of combinations. The possibility of using the coupler, which is also available, enables the player to activate the next lower octave at the same time which results in having up to six or eight reeds resounding simultaneously. So the coupler makes it possible to produce, together with the triple reeds, a particularly powerful, voluminous sound.