“My music is an extension of my tambura” – Bombay Jayashri

“Tambura is my constant companion – a bridge to my past, keeping the memories of my childhood alive.” – Bombay Jayashri >>
Learn more about the tambura (tanpura) >>

Can digital alternatives substitute the original symbol of sruti?
by Aruna Chandaraju in The Hindu, 29 March 2018 >>

Classical musicians have many concerns. A major one is having a perfectly tuned tambura — when practising and performing. Naturally. The tambura aka tanpura, is the keeper of the pitch. It is the guardian of the right note. The tambura is the drone instrument which keeps the sruti. And sruti is the mother of music. […]

This writer has often wondered why the tambura player’s name is not regularly mentioned in concert invitations along with that of the other accompanying artistes. Maybe, sabhas, organisers and artistes should think on these lines.

Teachers and performers consider playing the traditional tambura early in the morning both calming and even therapeutic and must be part of a student’s training. Pantula Rama believes that a musician’s personal tambura is invaluable and irreplaceable as it comes to life during the long years of sadhana. “Musicians should maintain old tamburas — either their own or inherited — as an extension of the body itself. Sabhas should maintain tamburas of different srutis, make it a point to have traditional tambura for each concert, and have a panel of music students and artistes well trained in this art,” she says and adds that good remuneration and respect on a par with other accompanists will encourage tambura players. […]

Is it time to start tambura academies? Or at least special certificate course only on tambura tuning? Or should tambura artistes have an association of their own to ensure good remuneration?

Radha Bhaskar has some good news: “We, at Mudhra, are thinking of organising a workshop on tambura tuning and playing. Madurai G.S. Mani has offered to conduct it,” she says.

Ravikiran says that AIR should restore the importance of a separate category for the tambura player.

The number of music festivals at various government and private academic institutions has grown over the years. Students of these institutions should be compulsorily trained in this art and encouraged to provide tambura accompaniment. It would give them a great opportunity to be with senior artistes and also provide valuable stage experience too.

Bridge to the past

For Bombay Jayashri, it is a unique relationship with the tambura. Her association goes back to her childhood. “The house would be filled with Omkara naadam as my father sat with his tambura in perfect sruti alignment. That left a deep impression in my mind. My grandfather and mother were also tambura lovers,” says Jayashri, who even wrote a poem, ‘Tambura My Sakhi.’

Naturally, it led to a collection of her favourite instrument — Miraj, Thanjavur, Trivandrum… she has them all. “I buy them in pairs,” she laughs. […]

Jayashri believes that it is the tambura, which inspires the musical phrases when she sings. “As I hold it close to my ear, I find myself completely cut off from the world. The raga draws me in. May be I’m imagining it but my music is an extension of my tambura.” Jayashri has names for her collection. “They are so close to my heart, I thought it was rude to identify them as the light brown, dark brown, white cedar, etc. So they have names — Mithra, Kamakshi, Kathyayini and so on.”

Does she not find them unwieldy especially when travelling?

“They are delicate. So I don’t carry the antique ones. I have compact ones, which I can carry as hand luggage. But I would never travel without one,” she explains. “Tambura is my constant companion – a bridge to my past, keeping the memories of my childhood alive.”

As performers-cum-teachers, we should practise with the traditional tambura and teach music with the same to the students.

Malladi Brothers quoted by Aruna Chandaraju in The Hindu >>
Learn more about the tambura (tanpura) >>

Therapeutic effect

By Rama. Kausalya in The Hindu, 29 March 2018 >>

The Tambura is considered a queen amongst the Suri vadhyas such as Ektar, Dotar, Tuntina, Ottu and Donai. Although tamburas are traditionally made at certain places, the Thanjavur Tambura has a special charm, which makes it a favourite. They are beautifully ornamented like the Thanjavur Veena. Veena Asaris are the Tambura makers too but not all are experts the reason being it requires a special skill to make the convex ‘Meppalagai’ or the plate covering the ‘Kudam’ or ‘Paanai.’ The making and fixing of the Meppalagai must be done with utmost care.

There are two ways of holding a Tambura. One is the “Urdhva” — upright posture, as in in concerts. Placing the Tambura on the right thigh is the general practice. The other is to place it on the floor in front of the person who is strumming it. While practising or singing casually, it can be placed horizontally on the lap, the Kudam on the right side.

The middle finger and index finger are used to strum the Tambura. Of the four strings, the ‘Panchamam,’ which is at the farther end is plucked by the middle finger followed by the successive plucking of ‘Sārani’, ‘Anusārani’ and ‘Mandara’ strings one after the other by the index finger. This exercise is repeated in a loop resulting in the sruti resonating entirely and creating a wholesome musical atmosphere. Playing the Tambura also needs special skill since the plucking should give a sustained sruti guide to the main performer.

The Tambura which gives the sa-pa-sa Sruti notes is pure therapy to the mind and soul. Sit in a quiet place with eyes closed and listen to the notes of a perfectly tuned Tambura — the effect is therapeutic.

Tambura makers rarely get orders. If they did, the preference is for instruments 50 years old since the wood used then was well seasoned and of great quality.

Except a few, the current generation is for electronic sruti accompaniment, including Bluetooth. Portability is the obvious reason for the choice. Besides few music students are taught to tune and play the tambura. Beyond all this what seems to swing the vote is that the electronic sruti equipment with its heavy tonal quality can cover up when the sruti goes astray.

During the middle of the last century, Miraj Tamburas (next only to the vintage Thanajvur) were a rage amongst music students, who were captivated by its tonal quality with high precision and the beautiful, natural gourd resonators.

[Bold typeface added above for emphasis]

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Flute TS Sankaran – Kalakshetra 1988

  • 1. 0:0:00 kAmbhOdi aTa tALa varNam
  • 2. 0:11:11 gajAnanayutam – chkravAkam
  • 3. 0:20:16 sogasu jUDa – kannaDagowLam
  • 4. 0:26:50 nenaruncarA nApaini – simha vAhini
  • 5. 0:34:15 cinna nADE – kalAnidhi
  • 6. 0:45:35 rAgam + manasu swAdhInamaina – shankarAbharaNam
  • 7. 1:20:22 rAgam+ meevalla – kApi
  • 8. 1:35:38 rAgam + parama pAvana rAma – pUrvikalyANi + thani 9. 2:38:34 mariyAda telikanE – suraTi jAvaLi
  • 10. mangaLam

Vidwan TS Sankaran was Flute Mali’s favorite and most trusted disciple. Apart from imbibing many of his guru’s techniques, he has created several of his own. His music also sometimes reflects his passion for the other great genius piper of the 20th century, TN Rajaratnam Pillai, who hails from the same village as Shri Sankaran. His legacy, and that of his guru Mali, is fortunately being continued through his grandson, Flute Jayanth.

Live recording made on 31 December 1988 – shared by Ludwig Pesch under Creative Commons

TS Sankaran – biographical entry in Garland Vol. II by N. Rajagopalan
(Chennai 1992), p.264

Audio tip | JA Jayanth’s grandfather and guru TS Sankaran live at Kalakshetra >>

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“Drinking the ever tasteful essence of raaga, why don’t you rejoice, O mind!” – Tyagaraja’s Ragasudharasa rendered by Flute Jayanth

Yet another proof and a delightful one (if any were needed), that
“Music is the purest form of art, and therefore the most direct expression of beauty, with a form and spirit which is one, and simple, and least encumbered with anything extraneous. … No one of its notes is final, yet each reflects the infinite.” – Rabindranath Tagore (Sadhana, the Realisation of Life)

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Audio tip | JA Jayanth’s grandfather and guru TS Sankaran live at Kalakshetra >>

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“Sampradaya is like a broad river and the bani is a tributary”: Umayalpuram Sivaraman on his 75 years of performance >>

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Video | Carnatic Wave: A journey into the Karaikudi tradition


Carnatic Wave is an aural journey into the Karaikudi Veena tradition, a centuries old practice of Southern Indian classical music being carried on by a group of musicians in Portland, Oregon. This short documentary offers a glimpse into their world of Carnatic music, highlighting the importance and challenge of teaching traditional art forms in our modern society. – Documentary maker David Van Auken

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“Sampradaya is like a broad river and the bani is a tributary”: Umayalpuram Sivaraman on his 75 years of performance >>

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Video | Layavinyasam by TR Sundaresan: Mridangam & Konakkol

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Audio | What Makes Indian Music Unique – Kennedy Center Education

To listen to the educational resources shown below, click here >>

Source: Music of India, An exploration of Indian music
URL: https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/international/music-of-india/
Date visited: 2 August 2021

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“Sampradaya is like a broad river and the bani is a tributary”: Umayalpuram Sivaraman on his 75 years of performance >>

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“Every family member excels at certain tasks”: A family’s legacy of making mridangams – Kerala

Read the full story with more photos in The Better India >>

In Kerala’s Peruvemba village, one family has been making the Mridangam, a Carnatic instrument, for four generations. They make two types of Mridangams – Ech and Thag. […]

The cumbersome and labour-intensive process of making every piece, which continues seamlessly and without glitches, takes anywhere between 2-3 months to complete. Generally, the artisans dedicate a part of their house to make the instruments. This is probably the reason why the entire family is involved in the work. Rajesh was around eight when he first tried his hands at making one. […]

Every family member excels at certain tasks. For example, my grandmother aces mashiyidal, which is the black circular ring on top of the instrument made from boiled rice and black stone. Her work is especially in demand by customers. Likewise, my father perfects the shape,” says Rajesh.

The main materials to make the instrument are jackfruit and leather. The family sources their jackfruit from Tamil Nadu’s Panruti village and to ensure the sturdiness, the tree has to be at least 30 years old. The middle and lower body of the fruit is cut and kept for drying for nearly two months, and then chiselled to make the body. […]

Source: “Musicians Across India Rely On This Kerala Family’s 200-YO Legacy Of Mridangams” by GOPI KARELIA (The Better India, 26 April 2021)
URL: https://www.thebetterindia.com/253401/kerala-peruvemba-mridangam-carnatic-music-instrument-kasumani-indian-musicians-family-legacy-history-tradition-culture-india-gop94/
Date visited: 1 June 2021

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Video | “Breath of Life”: Carnatic flute by JA Jayanth

JA Jayant performs for Indian Arts Connection’s Breath of Life fundraising concert to buy oxygen concentrators to help with Indias 2nd wave of COVID.
He is accompanied by B Ananthakrishnan on the Violin, NC Bharadwaj on Mridangam and S Karthick on Ghatam.
Donations accepted
https://www.crowdfunder.co.uk/breath-…​

Audio tip | JA Jayanth’s grandfather and guru TS Sankaran live at Kalakshetra >>

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“Sampradaya is like a broad river and the bani is a tributary”: Umayalpuram Sivaraman on his 75 years of performance

Mridangam vidwan Umayalpuram K. Sivaraman © The Hindu

Sampradaya is like a broad river and the bani is a tributary. It is born out of creativity and sustained when creativity combines with novelty, while based on the core principles. It should be aesthetically beautiful and serve as something new for present and future generations to work upon.
I learnt from four great masters: Arupathi Natesa Iyer, Thanjavur Vaidyanatha Iyer, Palghat Mani Iyer, and Kumbakonam Sakottai Rangu Iyengar. On that base I formed my own distinctive style, something novel, attractive and worthy of emulation.
Bani is about everything — accompaniment, mridangam solo, giving pauses, creating a lot of nada, and new moras and korvais, complex mathematical creations. It is like Ariyakudi’s music; it may seem simple, but when you attempt it, it’s impossible until you work at it. That is what I have created. It has complete clarity, with or without mic. As my father taught me, I coax the mridangam, I don’t beat it.
Another principle of my bani: First, you become a rasika of the main artiste, whether vocal or instrumental. You must become the first rasika. And you must go into the music, so that it affects your psyche, your playing. The tempo, the voice, the volume, the mellifluousness, everything enters your body, and it reacts in the mridangam. Then, your reactions and movements will be in advaita bhava with the main artiste.

Read the full interview: “Umayalpuram Sivaraman: ‘I have not even touched the tip of the iceberg’” by Vaishna Roy (The Hindu, 6 May 2021)

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“There is music of mind, of the senses and of the heart” – Mahatma Gandhi >>
Photo © Ludwig Pesch

Video | Tyagaraja Aaradhana 2021 – Sannidi Academy Of Music and Arts

https://youtu.be/JOMlCD0OwBY

Thyagaraja Aradhana 2021 – Live on 2nd Feb – 7:30am IST  #ThyagarajaAradhana​ #2021​ #pancharathnam

Sannidi Academy of Music and Arts, (SAMA) a nonprofit organaisation established in the year 2011 by carnatic musician T.R. Sundaresan. Sannidi, helps young talents to come together and also provides them a platform for team work, learning and performing. Sannidi Academy of Music and Arts welcome all like minded musicians and artists to come forward and be a part of its future endeavors.

More information: https://thyagarajaaradhana2021.wordpress.com

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