Indian Tools

Indian Tools

Sitar instrument has a hemispherical base with pumpkin related species with a rosewood neck, both empty

inside, the role of sounding board, bridge (callus) of ivory or bone, is fixed in the center. Sometimes a second pumpkin is attached to the other side of the neck to get a double resonance. There are seven main strings and Seventeen, Eighteen or nineteen bareuri zinc or copper convex shape usually associated with the nylon.Artist you sounding instrument with the left leg and neck bent at 45 degrees instrument.The strings are plucked with a metal ring (mizrabul) which is on the right hand forefinger. It is also used to keep pace. Sitar is one of the most difficult Indian instruments and requires years of study to master this instrument. Technical interpretations and pinch the string depends heavily on style, school of which the artist, to create melodic structure using fixed combinations of bowls „yes” „r” „ding” „Miss”. It is used in Indian classical music and the interpretation bhajanurilor, Indian light music or music bolywood.

There is a controversial story about the origin of woodcock and its evolution as a tool, first any stringed instrument is classified and labeled in category vina.Initial woodcock had three strings and was known as Tantra Tri fault.

Sitar name is not Indian but a name as Amir Khusro, the great poet, songwriter and musician Persian was impressed by the depth and purity of Indian music has created new forms of music and instruments. He transformed and modified tri Tantra come to what is known today as the sitar, it is his contribution, so the three became known as the tantra come sitar.The woodcock is often accompanied by the board, so the combination of the two enriched composition.

Tin plate, a pair of drums unequal in size, which is played with both hands, is the main percussion instrument of Indian classical music.

Pair is formed by a smaller drum sounds given for high and is playing with his right hand (Dayan or board), and a drum tuned for more bass, which is playing with his left hand bayan.

Dayan is responsible for most sounds (bowl-s) is bayan bass while he likedembroider dayan.Combinatia compositions for the two leads to a large repertoire of permutations of the bowl sites.

Rate refers to the arrangement of time in music and is a key element of it, the songinvolves a time structure which arises from the fact that the notes are produced in aparticular sequence and the fact that each note is produced in different time intervals .

Indian classical music beats recognizes three types: one emphasized, known assam, known as Khali be significant and important one called average waist.How two subdivisions within a cycle may differ due to different emphasis on thebeats shown in the following example:


1 2 3 4 5 6 | Dhinx Dhin Dha | Dhao Tin Na |

In the two sections (khandas) – the first beat indicated by x – (matra) is executedwith a strong emphasis on the beat, so Sat-recognized public and the fourth beatindicated by – 0 beating is very easy symbolizing Khali (the empty beating ). The other is called Jacks beats, normal beats. Sam’s page is so beat a tall and is the sharpest blow the whole cycle. Provides the fulcrum for compositions, and these usually marks the most significant products beat Sat.Bowl-sized Name: dhin, na, your hold, etc., derived from the sound board whenhits reach certain parts of the instrument (there are concentric circles from thecenter of the board and depending on how close we are to gradually change itsunrtul).Name bowls:

Simple: You, Tin, I, Tak, GHA, Ki, Kat

GHA = Dha Ta compound +, Ti + GHA = Dhi, Tin + GHA = Dhin

Examples of some common rhythmic structures are given below:


1 2 3 4 5 6 7 | Tino Tin Na | Na Dhin1 | National Dhin2 |

There are seven matra divided into three two two three important fights.

Teen tall:

1 2 3 4 5 6 7 8 | Dhin Dhin Dha Dha | | Dha2 Dhin Dhin Dha |

9 10 11 12 13 14 15 16 | Na0 Tin Tin Na | | Na3 Dhin Dhin Dha |

Talul has 16 matra in a 4 +4 +4 +4 structure. Bol-roar in separate blocks appear to indicate the symmetry of subdivisions This tall is the most important in Indian classical music and the artists used usual because of its balanced structure, with each having four vibhaga matra. An interesting aspect is that last bowl every vibhaga (subdivision) is repeated as the first bowl in the next vibhaga, thus creating an overload to the point where the two sections are swapped. This emphasizes once tall and more than that creates an overload of the bowl’s end the last sentence with the next cycle Sat bowl. Bowls first two subdivisions are identical but bowls resonance Dhin Dhin Dha Tin Tin are replaced by sodium, which are resonant sounds.

Tanpura tanpura is an instrument made of wood, four, five or six strings without bareuri, with a resonance box shaped gourd „ a thin neck. It gives artists a reference tonic

background sound enriches a unique harmonic hum. Strings are given in a manner that emphasizes the tonic and dominant notes of the composition, the bridge (callus) is made of bone, antlers and is usually slightly curved to avoid bazaiala (the strings are plucked), but also to generate various harmonic tonic that enhances the quality of the instrument.

Size instrument (sounding neck) may vary depending on the following: If the artist is an instrumentalist, vocalist or vocalist, tanpura was most likely included in musical ensembles since the seventeenth century …

Tanpura sound is very rich because of the higher tones produced. Because of its instrument creates acoustic results in such a way that even the highest notes dn persista.Este harmonic series obviously we are dealing with a very complex phenomenon because there are many (microtonuri) harmonic current and the manner in which it affects the final sound as a whole can not be easily identified.Moreover, the problem of obtaining consonance, or at least avoid extreme dissonance is a refractory.

It was proposed by some musicologists that range to be modified in the same manner with temperate ranges of Western music melody to avoid imperfections.The solution is unjustified but also for Western music perfectly equal intervals creating a monotonous tasteless. So an ideal range would be one that allows a certain margin of intonation depending on the context in which notes appear. This is possible only because Indian music is played by individual artists and orchestras not so flexibility in intonation is a usual feature. Despite intonation notes differ from artist to artist, composition is clearly recognized by audiences and the only explanation for this is that the public perceives intervals rather musical composition with a certain way as a dual or even multiple.

Bharatanatyam The earliest specific reference to this art form is found in the literature of the Sangam era (500 BC to 500 AD). Tamil epics, Silappadikaram Manimekhalai dancers evoke life with detailed technical descriptions that reveal different aspects and nuances of Bharatanatyam dance style.

Bharatanatyam is the oldest and most popular of all Indian classical dance styles.

It is said that Brahma himself sage Bharata entrusted the responsibility to bring this art mortal. Bharata together with a group of Gandharva and apsaras (celestial beings) had this dance before the god Shiva.

Bharatanatyam existed in temples as an offering, a veneration of the gods. In style and substance, Bharatanatyam reigns supreme precision and perfection of movements. When dancing on Carnatic music, Bharatanatyam dance mathematical precision is equivalent to the measures Carnatic music. Music and dance merge into one unit that offers the viewer a delight originally intended only to God.

Bharatanatyam expresses all three major attributes of classical dance – Nritta (technique, rhythm), Naatya (story, drama) Nrittya (combination of both). Nritta is the language of Bharatanatyam and Adavu (Step) form the smallest unit or Nritta alphabet.

How to communicate messages, expressive hands and face is called Abhinaya.The new Navarasas is the cornerstone of Abhinaya. Navarasas are Sringara (union), Hasya (joy), Karuna (compassion), Rowdra (anger), Veera (heroism), Bhayaaka (fear), Bhibhatsa (hateful), Adbhuta (wonder) and Shanti (calmness).

Structure, order a Bharatanatyam performance (Margam) as we see today was created in 1850 by four brothers, Chinniah, Ponnaih, Vadevelu and Sivanadam known as Tanjore Quartet. Today, a Bharatanatyam recital begins with Alarippu (an invocation to the gods). Jatiswaram dancer then performed (step to the music) and presents Varna (piece de resistance of the concert) Thillana dance culminating in a very rhythmic piece. Over the years, Bharatanatyam has evolved from a highly codified style to one that offers a degree of freedom for the creation of innovative choreography.



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