Mridang a View of the Siddha Yoga Drum from the Perspective of The
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Mridang A view of the Siddha Yoga drum from the perspective of the Indian music system —— Agostino De Marco November 2000 This page is intentionally blank. 2 Contents 1 A brief Introduction to Indian music 1 1.1 Mythological origins . 2 1.2 Historical development . 3 1.2.1 The early history . 3 1.2.2 The contribution of Amir Khusru . 4 1.2.3 The contribution of Tansen . 5 1.2.4 The last two centuries . 6 1.3 The Sangeet: vocal music, instrumental music and dance . 6 1.4 The traditional pedagogy of music . 7 1.5 Aesthetics and the nine moods . 8 1.6 Fundamental concepts associated to R¯aga ................... 9 1.7 The north Indian system of music – Hindustani Sangeet . 11 1.8 The south Indian system of music – Carnatic Sangeet (an outline) . 13 1.9 Relationship between Hindustani and Carnatic Sangeet . 15 2 The Siddha Yoga drum 17 2.1 The mridang .................................... 17 2.2 The drum in the context of indian music . 19 2.2.1 Dhrupad and Dhammar .......................... 20 2.2.2 Bhajan and Kirtan ............................ 20 2.3 Relation between pakh¯awaj, Siddha Yoga mridang, tabla and South Indian mridangam .................................... 22 i ii CONTENTS 2.3.1 Construction . 22 2.3.2 Tone . 23 2.3.3 Technique . 24 2.3.4 Philosophy . 25 2.4 The role of mridang in Siddha Yoga chants . 25 3 Getting started 29 3.1 Acquiring a mridang ............................... 29 3.2 Basic care and tuning . 31 3.3 Sitting position . 35 3.4 Powder . 35 4 Basic strokes 37 4.1 Fundamental one–hand strokes . 37 4.1.1 The right hand open stroke N¯a (na;a)................... 38 4.1.2 The left hand open stroke Gi (; a;ga).................... 38 4.1.3 The left hand closed stroke Ka (k) ................... 39 4.1.4 The right hand closed stroke Te (.tea)................... 39 4.1.5 The right hand closed stroke Ti (; a;ta) .................. 40 4.1.6 The bol TiT. a (; a;taf)............................ 40 4.1.7 The right hand open stroke Tin (; a;tMa) .................. 42 4.1.8 The right hand open stroke Tun (tMua)................... 43 4.2 Combined strokes . 44 4.2.1 The bol Dh¯a (;Da;a)............................. 44 4.2.2 The bol Dhin (; a;DMa)............................. 44 4.2.3 The bol Kha (Ka) ............................. 45 4.2.4 The bol Dhi (; a;Da) ............................. 45 4.2.5 The bol Dhe (;Dea).............................. 45 4.2.6 The bol Dhun (;DMua)............................. 45 MRIDANG DRAFT Ver. 1.0 CONTENTS iii 4.2.7 The bol Khun (KMua)............................. 46 4.3 Drum notation . 47 4.4 Exercices . 48 5 Advanced material 55 5.1 Other bols ..................................... 55 5.1.1 The right hand closed stroke Ne .................... 55 5.1.2 The right hand open stroke D¯ı ...................... 55 5.1.3 The right hand closed stroke Ma ..................... 56 5.1.4 The pakhawaj style T¯a .......................... 57 5.1.5 The left hand closed stroke bol Ge .................... 57 5.1.6 The bol Dhak ............................... 57 5.1.7 The bol TeRiK¯ıT. a ............................. 57 5.2 Exercices . 58 6 The North Indian rhythmic system 61 6.1 Elementary rhythmic concepts . 61 6.1.1 T¯al ..................................... 61 6.1.2 M¯atr¯a ................................... 62 6.1.3 Vibh¯ag ................................... 62 6.1.4 Avartan .................................. 63 6.1.5 Sam .................................... 64 6.1.6 Kh¯al¯ı .................................... 64 6.1.7 The bols as a system of mnemonics . 65 6.1.8 Lay ..................................... 67 6.2 Cyclic and cadential bol patterns . 68 6.2.1 T. heka ................................... 68 6.2.2 Prakar ................................... 73 6.2.3 Tihai .................................... 75 November 2000 [email protected] iv CONTENTS 6.3 Gharanas – The stylistic schools . 77 7 The Kaherawa Tal in Siddha Yoga chants 81 7.1 The basic .theka and his role in a n¯amasan. k¯ırtana . 81 7.2 Slow, medium, fast thekas (prakars)....................... 81 7.3 Additional variations . 81 7.4 Cadential material: tihais ............................ 81 7.5 Other phrases . 81 7.6 The bhajan theka ................................. 81 8 The Dadra Tal in Siddha Yoga chants 83 8.1 The basic .theka .................................. 83 8.2 Slow, medium, fast prakars ............................ 83 8.3 Tihais ....................................... 83 9 Examples of accompanyment 85 9.1 Accompanying Jyota se Jyota ......................... 85 9.2 Accompanying Gurudeva Amara Pyara .................... 85 9.3 Accompanying Sadguru Ki Arati ........................ 85 9.4 Accompanying a nama sankirtana ....................... 85 9.4.1 Starting a chant . 85 9.4.2 Speeding up a chant . 85 9.4.3 Skipping to half tempo . 85 9.4.4 Concluding a chant . 85 9.5 The role of cymbals and kartal in a chant . 85 A That – the indian modes 87 A.1 Swar – the notes . 87 A.2 Saptak – the scales . 88 A.3 The ten Thats ................................... 90 MRIDANG DRAFT Ver. 1.0 CONTENTS v B Details on drum construction 93 B.1 The treble head (pudi).............................. 93 B.1.1 Basic structure . 93 B.1.2 Construction . 95 B.1.3 Quality of gajara ............................. 98 B.1.4 The syhai ................................. 99 B.1.5 Quality of syhai .............................. 102 C A list of suppliers of Indian instruments 105 November 2000 [email protected] vi Chapter 1 A brief Introduction to Indian music The music of India is one of the oldest unbroken musical traditions in the world. The origins of this system go back to the Vedas. Many different legends have grown up concerning the origins and development of Indian classical music. Such legends show the importance that music has to Indian culture. Modern historical and cultural research has also given a good perspective on the field, showing that Indian music has developed within a very complex interaction between different peoples of different races and cultures. It appears that the ethnic diversity of present day India has been there from the earliest of times. The basis for Indian music is sangeet. Sangeet is a combination of three artforms: vocal music, instrumental music and dance. Although these three artforms were originally derived from the single field of stagecraft (see section 1.3), today these three forms have differentiated into complex and highly refined individual artforms. The present system of Indian music is based upon two important pillars: r¯aga (or r¯ag) and t¯ala (or t¯al). R¯aga is the melodic form while t¯ala is the rhythmic. R¯aga may be roughly equated with the Western term “mode” or “scale”. There is a system of seven notes which are arranged in a means not unlike Western scales. However when a westerner looks closely he sees that it is quite different what he is familiar with (see more in section 1.6). T¯ala (rhythmic forms) are also quite developed. Many common rhythmic patterns exist. They revolve around repeating patterns of beats. T¯ala is equivalent to the Western concept of rhythm. Most pieces of Indian music, whether a long improvisation or a devotional song, 1 2 A brief Introduction to Indian music have a rhythmic structure, i.e. a plan of organized beats that the players use as a foundation. Most of Siddha Yoga music is composed in simple groups of six, eight, nine, twelve, or sixteen beats. But given its ancient and divine origins, one should not be surprised to learn that the Indian system of rhythm frequently uses such sophisticated and complex patterns in groups of seven, ten, or fourteen. The interpretation of r¯ag and t¯al is not the same all over India. Today there are two major traditions, or systems, of music. There is the North Indian (see section 1.7), and the South Indian tradition (see section 1.8). The North Indian tradition is known as Hindustani sangeet and the south Indian is called Carnatic sangeet. Both systems are fundamentally similar but differ in nomenclature and performance practice. In Siddha Yoga music is fol- lowed the Hindustani system. Many musical instruments are peculiar to India. The most famous are the sitar and tabla. However there are many more that the average person may not be familiar with. All of this makes up the complex and exciting field of Indian classical music. Its understanding easily consumes an entire lifetime. 1.1 Mythological origins By looking at mythology one can really see the significance that Indian music (sangeet) has to Indian society. This is illustrated in the story concerning its origin. In the N¯at.ya S¯astra´ , which is the oldest surviving text on stagecraft in the world (circa 2nd century B.C.), the author Bharata writes: Once, a long time ago, during the transitional period between two Ages it so happened that people took to uncivilised ways, were ruled by lust and greed, behaved in angry and jealous ways with each other and not only gods but demons, evil spirits, yakshas and and such like others swarmed over the earth. Seeing this plight, Indra and other gods approached god Brahma and requested him to give the people a toy (Kridaniyaka), but one which could not only be seen but heard and this should turn out a diversion (so that people gave up their bad ways) MRIDANG DRAFT Ver. 1.0 1.2 Historical development 3 Although it was decided to give the celestial art of sangeet to mankind, a suitable human had to be found who was capable of receiving this gift. Sangeet had always been in the realm of the demigods (g¯andharva). A super–human of superior spiritual ability was required to convey this celestial artform to the world of man. It fell upon the great sage Narada to be the first mortal recipient of this divine art.