If what I am saying here looks silly, kindly forgive me for my ignorance.
I have a doubt. I find the nAda produced by third and fourth strings of vINA (mandara sthAyi), to be very sonorous and lingering than that of 1st and 2nd strings. Then why vINA is generally played in madhyama sthAyi? Why mandara sthAyi is played only as an exception?
How is it essential for vINA to be played in the same octave where human voice range (madhyama sthAyi) lies?
vINA and Sonority
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uday_shankar
- Posts: 1475
- Joined: 03 Feb 2010, 08:37
Re: vINA and Sonority
Govindan Sir
The need to keep the vINA's primary sAraNi string in the same sthayi as the human voice is only a partial goal - it evolved historically that way. But another goal for any instrument is how well a particular string can express the nuances of Carnatic music. Similarly nAda too is only a partial goal. One may say that in today's world nAda is not a goal at all, since practically all vinas' original nAda has been superceded by electronic amplification.
Coming back to the expressiveness, the mandara sthayi strings are much thicker and it is not possible to express certain nuances of Carnatic music on them. After a while, playing entire songs or Katcheris on the mandhara strings will result in a dull and smothered (in Tamil, sangathi ellam "poosi vitta madiri") experience for most artists and rasikas. Most artists and rasikas seeks a bright, expressive tone as an overall average tone. In such a case, forays into mandara sthayi then become delicious by contrast.
Still it may be a worthwhile experiment. MDR had a thaggu shruti voice an entire sthayi lower than the average female voice. So you could consider him the mandara sthayi strings of a female voice "vINA". Quite literally, I have head him sing with his AdhAra shruti at G#2 or 5 1/2 kattais in the lower octave! The typical female voice sings with the AdhAra shruti at G#3.
Some rasikas, including me, loved MDR's voice and most had great respect for his music but it is true that it has its limitations in terms of expressivity.
The need to keep the vINA's primary sAraNi string in the same sthayi as the human voice is only a partial goal - it evolved historically that way. But another goal for any instrument is how well a particular string can express the nuances of Carnatic music. Similarly nAda too is only a partial goal. One may say that in today's world nAda is not a goal at all, since practically all vinas' original nAda has been superceded by electronic amplification.
Coming back to the expressiveness, the mandara sthayi strings are much thicker and it is not possible to express certain nuances of Carnatic music on them. After a while, playing entire songs or Katcheris on the mandhara strings will result in a dull and smothered (in Tamil, sangathi ellam "poosi vitta madiri") experience for most artists and rasikas. Most artists and rasikas seeks a bright, expressive tone as an overall average tone. In such a case, forays into mandara sthayi then become delicious by contrast.
Still it may be a worthwhile experiment. MDR had a thaggu shruti voice an entire sthayi lower than the average female voice. So you could consider him the mandara sthayi strings of a female voice "vINA". Quite literally, I have head him sing with his AdhAra shruti at G#2 or 5 1/2 kattais in the lower octave! The typical female voice sings with the AdhAra shruti at G#3.
Some rasikas, including me, loved MDR's voice and most had great respect for his music but it is true that it has its limitations in terms of expressivity.
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Rsachi
- Posts: 5039
- Joined: 31 Aug 2009, 13:54
Re: vINA and Sonority
Sir, the lower pitch strings are very thick and difficult to play. The volume is also lower than that of the first two strings.
Emani had developed a unique plucking style for lower strings and he used to play alternately with the main string.
The veena sound in the MSS KSN recording is wonderful. Veena sounds more beautiful when played at a higher pitch.
Just my opinion.
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vgovindan
- Posts: 1952
- Joined: 07 Nov 2010, 20:01
Re: vINA and Sonority
Uday and Sachi,
Thanks for the responses.
Thanks for the responses.
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varsha
- Posts: 1978
- Joined: 24 Aug 2011, 15:06
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munirao2001
- Posts: 1334
- Joined: 28 Feb 2009, 11:35
Re: vINA and Sonority
V Govindan Sir
Veena, instrument as a part of a vaadya vrinda playing and solo playing are important aspects. The composer decides and composes the Veena playing parts. These parts will be mostly based on the sarani strings, for the reason already explained by Udaysankar Sir. Additionally, the aspects of veena playing techniques based on the 'gottu' and 'meettu' are important considerations based on the strings and its nature.
Veena in solo instrument concert/performance, it should express optimally the creative ideas of the Vidwan. Karnataka Sangitam performance/cutchery's main basis is on madhyama sthayi based on the compositions. The tara sthayi is for effect, effect of excitement in climax. With internalized ideals of both the performer and the rasika(s), short time spent on meditative moods/qualities expressed in all the creative tools, in mandhara sthayi. Playing and expressing the gamaka rich KM is a challenge higher than in other sthayees, due to both the strength and limitations of the mandhara strings. Once again as Uday Sankar has observed that with the extensive use of contact mike and obsession with the enhancement of sound through the sound systems, it is very rare to experience the true naada, unique to Veena. The changes in the choice of rasikas had its effect on the choice of Vidwans and the choice of doing away with the mandhara sthayi is the related outcome.
I have the experiences of listening pleasure of Veena vaadana by great maestros, with judicious and minimal use of sound systems and totally focused on the excellence of both the instrument technique and quality of music. Rasikas choice and support to many great maestros we have will result in total enjoyment of Veena and its naada.
munirao2001
Veena, instrument as a part of a vaadya vrinda playing and solo playing are important aspects. The composer decides and composes the Veena playing parts. These parts will be mostly based on the sarani strings, for the reason already explained by Udaysankar Sir. Additionally, the aspects of veena playing techniques based on the 'gottu' and 'meettu' are important considerations based on the strings and its nature.
Veena in solo instrument concert/performance, it should express optimally the creative ideas of the Vidwan. Karnataka Sangitam performance/cutchery's main basis is on madhyama sthayi based on the compositions. The tara sthayi is for effect, effect of excitement in climax. With internalized ideals of both the performer and the rasika(s), short time spent on meditative moods/qualities expressed in all the creative tools, in mandhara sthayi. Playing and expressing the gamaka rich KM is a challenge higher than in other sthayees, due to both the strength and limitations of the mandhara strings. Once again as Uday Sankar has observed that with the extensive use of contact mike and obsession with the enhancement of sound through the sound systems, it is very rare to experience the true naada, unique to Veena. The changes in the choice of rasikas had its effect on the choice of Vidwans and the choice of doing away with the mandhara sthayi is the related outcome.
I have the experiences of listening pleasure of Veena vaadana by great maestros, with judicious and minimal use of sound systems and totally focused on the excellence of both the instrument technique and quality of music. Rasikas choice and support to many great maestros we have will result in total enjoyment of Veena and its naada.
munirao2001