Types of Veena

Chapter 3DIFFERENT TYPES OF VEENA ' Vanyate iti Veena' - that which creates a sound is called the Veena. This is the etymological interpretation of the Sanskrit word Veena. Panini, the great Sanskrit grammarian has explained the word VANA as meaning Sound. Significantly, Vedic literature often finds the word VANA being used in the meaning of Veena. An investigation of the 'musical instrument scenario' right into the remote past clearly reveals that the term Veena did not refer only to the instrument - Veena - as we know of it today. On the other hand, it seems to have been a generic term encompassing within itself a whole range of stringed instruments and sometimes, also instruments from other genres like aerophones. The yazh is an ancient Dravidian instrument, somewhat like a harp. It was named for the fact that the tip of stem of this instrument was carved into the head of the animal yaali (vyala in Sanskrit). The yazh was an open-stringed polyphonous instrument, with a wooden boat-shaped skin-covered resonator and an ebony stem. It was tuned by either pegs or rings of gut moved up and down the string. It is not used today but pictures of it are found in 51 Thirumayam in Tamil Nadu, probably of the 8th century A.D. There are many references to it in Tamil literature. This instrument was displaced by the Veena later. The following are some varieties of Yazh. Adi Yazh Makara Yazh - 17 strings. Maruththuva Yazh Matchya Yazh Peri Yazh - literally, big yazh. It had 21 strings. Sagoda Yazh - 16 strings. Seeri Yazh Sengottu Yazh - 7 strings. Vil Yazh - it means bowstring. It was essentially a bow with strings of different lengths. The one Indian instrument with the largest number of varieties is the Veena. The Veena in ancient times simply meant 'A stringed instrument'. It comprised the plucked, bowed and struck varieties. Later on, the word Veena came to be used to denote the fretted instruments. The 'Satatantri Veena' was played on open strings. This Veena, survives as the Santoor in Kashmir. This Satatantri Veena is more than two thousand years old. It 52 53 . the Satatantri is called 'Vana'. But the Veena had the drone and Tala strings. These facilities coupled with the introduction of metallic strings made the Veena superior to the Yazh. the Yazh. When the fretted Veena developed much later. In the Veena. The yazh could produce only straight notes and occasionally glides were performed on it with the help of a small stick. In the ancient yazh.became the 'SANTIR' in Persia. In some of the Vedas and Samhitas. The 'Satatantri Veena' was used at every Vedic ritual. it threw into the background. a facility that the Yazh lacked. the player performed new scales by just touching the concerned frets. Jyakara was the maker of the 'JYA' or the ancient harp. represented by the Ravana Hastam and the plucked varieties represented by the Kinnari. The fretted Veena had the facilities for producing subtle quartertones and graces by the deflection of the strings. a new scale was performed either by the shift of the tonic note or by retuning the concerned strings to conform to the new scale. there were the bowed varieties. In addition to this struck variety. The art of making musical instruments is as old as the Vedas. 'PSALTERY' in the Bible and it eventually paved the way for the development of the Piano. structure.The size. Narada in his 'Sangita Makaranda' mentions the following nineteen kinds of Veenas- Kachchapi Kabjika Chitra Vahanti Parivadini Jaya Ghoshavati Jyeshta Nakuli Mahati Vaishnavi Brahmi Raudri Kurmi 54 . shape. tuning and number of frets have all changed from time to time and the Veena at each stage has had a different name and has sounded different. 'Madhyama' and 'Laghu'. Pinaki 6. • Ravani • Sarasvati • Kinnari • Sairandhri • Goshaka Haripala in his 'Sangita Sudhakara' names the following Veenas - 1. 'Bharata Sastra lakshana' mentions the following Veenas - • Brahma Veena • Kailasa Veena 55 . Kinnari 4. Palkurki Somanatha in his 'Panditaradhy Charitra' (12* Century) in the 'Parvata Praharana'. They had movable frets. Aakasa Veena Haripala's Kinnari had four main strings and three Secondary strings. Alapini (Alavani) 3.'Brihat'. Brahma Veena or Ekatantri 2. There were the three kinds of Kinnari . Kailasa Veena 5. The number of frets ranged from fourteen to eighteen. . ) 56 . built by Vishnuvardhan in 1117 A. This is seen in Belur in the Chenna kesava Perumal Temple.D. The instrument was plucked and played on open strings. wherein the head was carved into that of a serpent head with the hood spread out. Kinnari or Traperi • Saraswathi • Mulla • Audumbari • Swaramandala (This was like the Satatantri but the number of strings was less.• Kurma Veena (which resembled the vioHn to some extent) • Saranga Veena • Aakasa Veena (This was something like the Aeolian harp) • Pinaka Veena • Ravana • Gauri • Kasyapa • Svayambhu • Bhujanga (This is the Naaga Veena.) • Bhoja • Kinnara. again mentions the following kinds of Veenas. In the 'Chitra' and 'Vipanchi' a small wooden piece was used to glide over the playing strings and produce notes of different pitch. this type of Veena is even now called Vichitra Veena or Vichitra Been. • Ravanahasta • Brahma Veena • Lavanya Veena • Aakasa Veena • Pinaka Veena • Saaranga Veena • Kinnara Veena • Swayambhu Veena and • Gauri Veena. This is the Gottuvadyam. Stringed instruments are depicted in the Ajanta Cave paintings. In North India.Palkurki Somanatha in his 'Basava Purana'. Matanga in his 'Brahaddesi' explains the experiments with the 'Dhruva Veena' £ind the 'Chala Veena' to fix the Shadja and madhyania gramas «nd 57 . Nanya deva describes the Rudra Veena and Kachchapi. The 'Swapna Vasavadatta' refers to the Veena. Both were tuned to the same pitch. The other was used for experiment. a favorite of Lord Shiva.Sruthis Values. THE VEENAS OF RAMAMATYA Ramamatya's treatment of the Veena is clear and definite. the experiment with the Dhruva and Chala Veenas to clarify the Grama concept and the Sruthi Values. with four playing strings and three strings for the drone and tala emerges into prominence with Ramamatya. In his work. The seven-stringed Veena. he mentions three kinds of Veenas based on the systems of tuning adopted for the strings. The Dhruva Veena was so named because it was kept constant. The ancient method of tuning was different from the present one. note for note. So. Each Veena 58 . Sarangadeva and Mathanga explained in greater detail than Bharatha. He calls it 'Rudra Veena'. A great part of the Music was in the harp stage. Sarangadeva in his 'SangeethaRathnakara' mentioned eleven types of Veenas and added *Nissanka Veena' of his own to the list of Swara Veenas. Brahaddesi to a great extent followed Bharatha. It was still the age of the Sruthi Veena and Swara Veena. it was called the Chala Veena. 'Svaramelakalanidhi' (1550). Every one of the 22 sruthis in an octave had a string. Its strings were loosened and tightened according to the need for change in Pitch. He had no doubt that ancient experts of the Veena had instinctively glimpsed the fractions of the speaking length of the string for scale notes. For the first time. in his 'Raga Vibodha* (1609) refers to the Suddha Mela Veena and Madhya Mela Veena wherein the systems of tuning of the four playing strings were the same as mentioned by Ramamatya. The Tala strings were however tuned as S P S. His "AKILA RAGA MELA VEENA' is another name for the 'sarva raga mela Veena' of Ramamatya. Four decades after Somanatha. Ahobala published his ^Sangeeta Parijatha'. Somanatha.Suddha Mela Veena s P s m 2. Name of the Veena System of tuning adopted for the strings 1 .again admitted of the two varieties: 'Eka Raga Mela Veena' and 'Sarva Raga Mela Veena'.Madhya Mela Veena (This is the mode P S P s system of tuning) 3.Achyuta Rajendra Mela Veena s P s P The drone/Tala strings were tuned to s p s in all the six Veenas. he fixed the frets one by one and calculated the ratios of their speaking length to the total length of the string between the Meru on the left and the 59 . it was a conveyer. Parsvadeva and Vidyaranya. frets had been tied to the Veena Danda with guts. It was he who fixed the frets on wax. Panchama. to facilitate the proper method of Veena play. Gandhara. Chyutha Panchama Madhyama. Till his time. Kakali Nishada and Tara Shadja. The construction of the Raghunatha Mela Veena was undoubtedly the product of his mastermind. but for a few reference to Matanga. In fact. Govinda Dikshitar in his 'Sangeetha Sudha' says. SudhaMadhyama. By its very nature." The twelve Swarasthanas pertained to Rishabha. 60 . The Sama Gana Saptaka and the five Vikruta notes were there. Sadharana Gandhara. Sudha Nishadha. Kaisiki Nishada. Govinda Dikshitar leaned heavily on Sarangadeva. The third Variety of Veena was the Achyuta Raghunatha Bhoopala Veena. wax did not absorb sound. let me describe the correct position of the frets and their notes.?atnka{bridge) on the right. Placed in correct position. Chyuta Madhyama Gandhara. they would be shifted with ease when necessary. Govinda Dikshitar designed it. Dhaivatha. Many people attribute the invention of Modem Saraswathi Veena to Govinda Dikshitar as the new instrument had twenty-four fi-ets and covered three and a half octaves. "For the benefit of Vainikas. Its six frets uttered 'Varali Madhyama. Lastly. This tuning was more in step with the prevailing trends. Neither the Sudha Mela Veena nor the Madhya Mela Veena was adequate for the new set up. Anumandra register in the Veena was practically of no use. Madhya Panchama and Tara Shadja.. the need for forays in the higher reaches was urgent.Venkatamakhi in his 'Chathurdandi Prakasikha' comes back to the Suddha and Madhya Mela Veena again. The Sudha Mela Veena of Chathurdandi specified brass for the first and second strings and steel for the third and fourth. So. Kaisiki and Kakali Nishadas. Suddha Nishada. The four wires were tuned Mandra Shadja. Suddha Dhaivata. Madhya Shadja and Madhya Madhyama. Yet. Madhya Shadja had become the common fimdamental by that time. There was no provision for using the higher Octave. the Madhya madhyama of the fourth string was a drag. Rishabha and Gandhara of the higher octave. laid stress on the three octaves. five 61 . Mandra Panchama. three more frets were fixed prbviding for Shadja. In the circumstances. Yet rules for Raga Alapana. The three side strings sounded Madhya Shadja. Prabanda Tana etc. It dropped Anumandra notes altogether. Panchamam. The first side string bore the name of 'Jhallika' and the last 'Teep'. In order to augment the range. Ramamatya's Suddha Mela Veena had 9 frets with notes ranging from Anumandra Shadja to Sudha Gandhara of the Madhya Sthayi. Instead. the Suddha Mela Veena covered three registers . Four more frets were added for PDNS. buttressed frets .nineteen in all for the fourth string . for the Madhya Mela Veena. Sadharana Gandhara. five long frets and eight short. 62 . Antara Gandhara. With a fiirther addition of seven short- buttressed frets there was an Eka Raga Madhya Mela Veena. These three being constant notes. Suddha Madhyama and Varali Madhyama. Madhyama and Tara. the 15*. The other five frets for RGMDN could be shifted to produce Vikruthi notes. It became a Sarva Raga Madhya Mela Veena when the fourth string laid stretched on twelve long frets and twelve short buttressed ones. 19* and IT^ notes were Taara Shadja and Taara Panchama and Adi Taara Shadja. Now.Mandra. The three side strings were tuned like the Suddha Mela Veena.short frets followed with M P D N S buttressed at the center of the sound channel so that the three other strings might not be disturbed. The six frets of the Madhya Shadja string sounded Suddha Rishabha. Mandra Shadja. The four strings were tuned. Anu Mandra Panchama. This kind of Suddha Mela Veena was an Eka Raga Veena. In this manner. their frets were fixed. Among these three octaves.converted it into a Sarva Raga Mela Veena. Mandra Panchama and Madhya Shadja. Suddha Gandhara. 2. Gatra Veena and Daru Veena 'Gatra Veena' is the unseen musical instrument . 4. Dhruva Veena and Chala Veena These are the experimental Veenas devised by Bharatha for proving the frequencies of the twenty two Sruthis and other facts relating to the tone system of Indian music. facts and phenomenon. Sthira Veena and Chara Veena 63 . The 'Daru Veena' is the instrument (Veena) made out of wood.the human voice and it is used as per the will of man. Why did the book fail to specify this? Why did it dilate on the Eka Raga and the Sarva Raga Veena with long and short frets and leave out the most important development in the history of Veena? CLASSIFICATION OF VEENAS 1. Some people have also mentioned the human body as the Gatra Veena.Govinda Dikshitar had constructed the Veena with twenty-four frets before Venkatamakhi wrote The Chaturdandi Prakashika. 3. Gana Veena and Pradarshana Veena 'Gana Veena' is the Veena on which one can play classical music and 'Pradarshana Veena' is the instrument used for explaining certain musical laws. 7. Sata tantri (hundred strings) etc. Sari and Nissari Veena The Veena with frets was called the' Sari Veena'. CLASSIFICATION OF VEENAS DEPENDING ON THE NUMBER OF STRINGS USED a. 6. Ekatantri b. When the same type of Veena was tied on to the top of trees and made to sound. the strings were set in vibration by plucking or striking. Tritantri c. It was automatically set in vibration when currents of wind blew against the strings. The wood should be 64 . it is clear that they were tuned to harmonics or Swayambhu Swaras. 'EKATANTRI' was a single stringed Veena with a resonator of coconut shell. The Sarod-like Veena depicted in the Udayagiri caves is an example of a 'Nissari Veena'. it was called the 'Aakasa' Veena.Sthira Veena was tuned and kept stationed at a particular place. Saptatantri d. Veena without frets was called 'Nissari Veena'. whereas in the other types of Veenas. Dhanur Veena This was played with a bow. the Danda of this Veena is made out of Khadira wood. 5. The gottuvadhyam is a 'Nissan Veena'. Since the strings vibrated as open strings. The Kinnari is one of the oldest of stringed instruments and is named after Kirmara. The length of the Veena is less than one yard. Patrika (in the present days called as Bridge) was placed on the Kakubham. Kinnari is an example of this. Its Kakubham is made 65 . 'TRITANTRIKA' was a Veena with three strings. It is represented in many old Indian Sculptures and paintings. It was used as a drone. The width of the Danda is 1 V2 inches less at the Yali compared to the width near the Kakubham (Main resonator). thumba made of wood was used. In the place of a gourd. This is seen in the sculptures and it was used to play the music of the Vedic chants.fully ripe without any thorns and circles. The present day's Yali was known as Dorika and this was made out of any wood available. The top of the kakubham has a slight curve and is not flat. It is mentioned extensively in the Sanskrit literature. a celestial musician. The circumference of the wood should be to the size of a stretched palm. On the top covering of the Kakubham. It is the Ekatantri that has become the Ektar or Ekanadam. Sarangadeva has described the Ekatantri Veena in 81 slokas. a hole was made in front of the bridge. 'NAKULA' was a Veena with two strings. The strings were tied from the Naagapaasam across the patrika to the Dorika and tied to the Biradai. The length of this Veena is 3 Vi stretched palms (Vithasthi). Naagapaasam was fixed to the Kakubham to tie the strings. which is at the back of the Kakubham. The height of the Danda is 2 V^ inches and width is 5 inches.out of Shaka wood. There are three strings. Sarangadeva. Copper or iron small plate is placed on the Patrika. These strong strings are again tied to the Naagapaasam. The fingerboard of Kinnara consists of a round stick of Blackwood or bamboo and upon this 12 or 14 frets of metal or bone pieces of eagles are fixed with black coloured honey wax.260 Sarangadeva. Sarangadeva called them as GAJAKESOPAMAM (it means the strings are as strong as the elephant's hair). the middle one being larger than the other two. Shishta Vastramashi mishramadanena chaturdasha .258 Sarangadeva. Sarangadeva mentions 14 Swarasthanas Chaturdasa Swara sihaney Dandey Prushtey Niveshayet . Madhye Koormonnata tahi Patrika Kakubha Sthita . *'Saree katubhayor madhyay tarjanyadyanguli trayaaV* -272 Sarangadeva. 66 . The strings are tied to the other strings present on the other side of Patrika (bridge). The tailpiece of the instrument looks like a kite. The strings on the Kakubham are plucked and played with the three fingers of the right hand. These fourteen Swarasthanas are two Saptakas. There are three gourd resonators below the Dandi.260. The left hand fingers are used to play on the frets. two for playing music and one for being used as the drone. the names of which have been mentioned earlier in this chapter . Aadatavyam kinnareenam rakthi madhurya varjanaath E Tayo rantaraaletu yatheshtam maanakalpana . The Laghu Kinnari is 35" in length and 5" inches in breadth. Some points that make us feel so about Kinnari are: - • It is not a Sruthi Veena.273 Sarangadeva. There are three types of Desi Kinnari.324. • Usage of honey wax is similar. Sarangadeva. Madhyama and Laghu. The length Veena's Dandam is 50" and the breadth 6 Vz" in the Brihat Kinnari. The Madhyama Kinnara Veena's Dandam is 43" long and the breadth is in proportion.Brihat. today it is 24 frets. plucking place. These are differentiated with the variations in their measurements. • Plucking of the strings. • Kinnari Veena had only 2 Saptakas i.. From the above description of the Kinnari Veena by Sarangadeva we can trace back at least some history of the origins and evolutions leading to today's Saraswathi Veena. 67 . No Veena should be less than 35" length as melody decreases accordingly. the place where the strings are tied are all the same for these two types of Veenas. 14 frets.e."Vamasya tisrubhistabhi rangulee bhisiu tantrikaam" . Madhya and Tara. Parivadhini was a seven stringed Veena. Naagapaasam Danda. This corresponds to the Swara Naadi and Sruthi Naadi in flute. 8. today's Veena is made out of jackfruit wood whereas the Kinnari Veena was made out of Shaka Dam (wood). the Veena for playing creative music like Aalapanas and compositions. VIPANCHI had nine strings. SAPTATANTRI It is a seven stringed Veena. frets are all similar. The notes of the Shadja grama were given by the 4*. They were tuned to the notes of the three octaves .Mandra. SATATANTRI had hundred strings. The only difference is. • The measurement of the Danda in both the Veenas is the same to a certain extent. It was designed to explain the frequencies of the twenty-two Sruthis. MATTAKOKILA had 21 strings. 68 . Kakubha. This instrument is referred to in the 'Mrichchakatila'. The manufacturing process. 'Chitra' also had seven strings. SRUTHI VEENA AND SWARA VEENA The former was the drone and the latter. The 'Sruthi Veena' described by Sarangadeva is the experimental Veena with 22 strings. 20* and 22"'* strings respectively. 9. This practice continues in the Sitar even at the present day.' OTHER VEENAS > Alabu Veena . Clean wood without thorns is used. When a change of raga was desired. In the 'Sarva Raga Mela Veena'. The fret positions were so adjusted that a particular Mela raga and its j any as could be played. Special types of Veenas like the *Savyasachi Veena' and the 'Pradarsana Veena. The 'Swara Veena' of the Sangeetha Ratnakara was a Gana Veena. which means that the Dandam was very thin. 13*.7*.The length of the Veena is 36 inches. Sarangadeva says that the musician should first expand the raga vocally and only then play the fixed text on the Veena because of the tenderness in the sound of this type of Veena. The Danda is made of red sandalwood or Kadira wood (red sandal). > Alapini Veena . EKARAGAMELA VEENA AND SARVARAGAMELA VEENA The former had movable frets. 69 . 17*. the positions of the concerned frets were re-adjusted and played. The circumference is 2 inches. Coconut tile is used as Tumba. there were 12 frets for each octave and several ragas were played by placing the fingers on the particular Swarasthanas. 9*. 10.had a gourd resonator. > KALAVATHI.5 inches wide and the rest being 1. This Veena is unique in its geometry. It was bowed using a bow 20 inches long. this Veena is called 'KACHCHAPI'. Kudjyapi. Since the Kakubham of the Veena is in the tortoise shape. The Kachchapi survives in the Philippine Islands even now under the name. They take the silk threads. > PINAKI was a bowed instrument. make them hard and tie them to the instrument as strings. Horsehair was used for the bow. The Danda is shaped like a Dhanush (bow-like).75 inches 70 . was the name of the Veena used by celestial musician Tumburu. 'ATRAMESHANTRA TANTREESYAATSAMUDRUDHA"-244 > Kachchapi Veena was a Veena used by Goddess Saraswathi. The bow (kamaan) was used with the right hand to play the instrument. "GAYED GEETHAMNIBADHDHAMCHA PRAVEENO VEENAYO NAYAA. > MAHATI was the name of the Veena used by Devarishi. 'Rala' was the name of the resin applied to the hair of the bow. Narada. It is 41 inches long with a central portion being 2." The specialty of this Veena is that the strings used are not metal. But by studying the details some of these Veena varieties. References from Prof. today's Saarangi. It lends itself to all the different graces that give so much beauty to Indian Music. it can be understood that the Dilruba. Sarod. Sambamurthy's book 'History of Indian music'. > NISHSHANKA VEENA . Pinaki Veena was held vertically. > All these varieties of Veenas are not seen today. > UP AVEENA was a secondary Veena and was used to provide accompaniment. > VALLAKIwasakindofYazh. P. Page 202 71 . It is played with a bow (kamaan) that is tied with nerves. structure. The distance between the Meru and the bridge is four stretched palms (vithastees). The Pinaki Veena is not a pluck-type instrument. The Saraswathi Veena is considered the queen of musical instruments. More about the evolution. tuning and playing techniques of the Saraswathi Veena will be dealt with in the following chapters.The name itself suggests that Sarangadeva might have created this Veena. wide. Violin and the Saraswathi Veena have evolved from them. 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