Indian Musical Instrument- Veena
The veena is one of the oldest Indian musical instruments. It is played by sitting cross-legged, with the resonator to the right of the player (they give). Veena is said to be the only instrument that can play all the gamakas (oscillations) in Carnatic music, often something that only talented artists can achieve.
The Veena is named after Bobbili, a place where it was invented. In 2011 the musical instrument got a Geographical Indication tag from the Government of India. It is lightweight and possesses qualities like excellent reverberation, clear grain lines, great durability, and minimum swelling in moisture.
The most ancient string musical instrument from Tamil Nadu, India. This beautiful Thanjavur Veenai is a piece of art, as well as the Most ancient stringed musical instrument from India.
It contains a family of chordophone instruments from the Indian subcontinent. Ancient musical instruments were transformed into a variety of instruments, such as strings, zithers, and arched harps. Many regional projects have different names such as Rudra veena, Saraswathi veena, Vichitra veena and others.
The North Indian design, used in ancient Hindustani music, is a zither stick. About 3.5 to 4 meters (1 to 1.2 meters) in length to match the artist's measurements. The veena design of South India, used in classical Carnatic music, is a lute. Lute with a long, pear-shaped neck, but instead of a low-lying North Indian design tree, it has a piece of pear-shaped wood.
Like a torn, peeled lute, the veena can produce pots in the full range of three octaves. The long, hollow design of these Indian ornaments allows for the portamento effects and legato embellishments found in Indian ragas. It was a famous instrument in ancient Indian music, and revered in Indian culture for its incorporation into the images of Saraswathi, the Hindu goddess of art and learning.
Natal Shastra describes seven-stringed instruments and other stringed instruments in 35 verses, and explains how the instrument should be played. The working process shows that the veena during Bharata Muni's time was very different from the zither or lute that became famous after the end of Natal Shastra. Ancient veena, according to Allyn Miner and other scholars, was close to the harp. The original style of the lute and zither veena played by artists is attested to by the Hindu and Buddhist temples of the first centuries of the common era. Similarly, paintings in India from the middle of the first century CE show artists playing musical instruments. About the sixth century CE, statues of the goddess Saraswathi mainly feature the zither-style veena, which resembles modern styles.
At first glance, the difference between the North and South Indian designs is the presence of two resonant frames in the North, while in the South, instead of a lower reed than a pear-shaped wooden body. However, there are some differences, and many similarities. Modern designs use fiberglass or other materials instead of empty jack wood and barrels. The construction is done with the body stems of the artist so that he can hold it and play it freely. It ranges from 3.5 to 4 meters (1 to 1.2 meters). The body is made of special wood and is hollow.
Both designs have four music strings, three drone strings and twenty-four frets. The metal ends are usually well-shaped like swan and the exterior areas are decorated with traditional Indian colors.
Musical strings are arranged in c 'g c G (tonic, fifth, octave and fourth), where sarani (chanterelle) is used. Drone strings are connected to c "g 'c' (double octave, tonic and octave.) beaten piece.
The main line is called the Naayaki Taar and in Sarasvati veena is on the left side of the viewer. The instrument is played with three fingers of the right hand (prominent), pierced internally or externally with a plectrum. Bola alphabets are blown into North Indian veins by da, ga, ra on large strings, and many more by combining fingers with other strings. The venous settings and adjustments can be adjusted or adjusted by loosening the pins, making the Dhruva from consistency and Cala with loosened pins so that the second cord and the first cord meet.