essay on veena in english

Musical Instrument Veena: History, Types and Other Information

This article is about  Veena  – one of the various  classical musical instruments  in  India . We will learn all information related to  Veena  as well as some amazing facts. Some people are spell it as “Vina” though “ Veena ” is the most popular well of spelling it.

Here, we are referring to the Sarasvati Veena. This instrument belongs string instruments  family . It is accompanied in Carnatic music and  Hindustani music . The Veena music instrument gives an exotic melody. It may help in curing people’s moods and is helpful in improving the psychological well-being of many.

What is the Veena instrument?

History of veena instrument, what is veena in english, veena vs sitar, is the veena instrument difficult to learn, how old is the veena instrument, who is the best veena instrument player, how can you learn the veena instrument, veena information and amazing veena facts.

Originally created in the south of India, the veena is a plucked string instrument. This actually belongs to the family of chordophone instruments of India. The veena in many parts of the country has different  types  which are Rudra Veena, Sarasvati Veena and Vichitra Veena. Carnatic music, in the south of India, widely uses the veena. It is sad to see how the  Sitar  is replacing the Indian veena, in the north.

This instrument can produce music in a wide range which is usually in the three-octave range. The Hindu Goddess Sarasvati holds this instrument in her hand, as well. In south India, it has a pear shape, 24 frets and 3 strings for producing melodies. The lower gourd of the Veena is present in the Northern part of India.

The Sanskrit  language  has derived the term ‘Veena’. This became a popular term in ancient and medieval English literature. It has its mention in various Vedic literature including Rig Veda, Samaveda, Satapatha Brahmana, and Taittiriya Samhita. According to a famous music professor Sunnera Kasliwal, the  musical instrument  of Vana emerged into the term veena in the present times. The Upanishads, Rigveda and the Atharva Veda have all mentioned the use of this musical instrument. The  Natya Shastra , written by Bharata Muni, has also mentioned the veena as a musical instrument.

As mentioned earlier, the Veena is a Sanskrit term. Nonetheless, in contemporary times, it is ‘Veena’ is English, as well.

Veena and Sitar are different from each other. The south Indian music incorporates the Veena a lot. Nonetheless, in Hindustani  Classical music , the usage of Sitar is prominent, which is from North India. Sitar and Veena, although look similar, are not the same.

People also called the Veena, the Rudra Veena and the Sarasvati Veena. It has a height of about four feet a resonator or Kudam. It also has a long neck that looks similar to that of a sitar. The veena has steel strings, seven in number.

Created in the 13th Century, the Sitar is a plucked instrument. This instrument has two bridges whereby there is a big bridge and a small bridge. Please go through this lesson on  Sitar – the classical music instrument  to learn all about Sitar.

The Veena and the Sitar players sit in different positions. One sits cross-legged to play the veena. Nonetheless, one keeps the instrument on the left foot and the right knee to play the Sitar. Sitar is not as ancient as a Veena is. This is because the Veena was in the early mythological literature of India.

Learning  Veena involves high level of synchronization and regular practices. The middle and  index  finger is important in order to play this instrument. Also, learning Veena is difficult in the sense that being a string instrument it is  time -taking to learn the basics of the classical musical notes. The time needed for learning instrument differs from one person to another.

Veena: A quick guide to learn Veena Indian Musical Instrument

Learning veena necessitates a concerted effort to train one’s ear to recognize different types of music. One should also be able to play the instrument while listening to that music.

Veena is an ancient instrument that was even in our mythologies and Vedic literature like the Atharvaveda, Rig Veda, the Natya Shastras. It is a musical instrument that Goddess Sarasvati plays and it also dates back to the Vedic eras. Carnatic Music, from the 17 th  century, uses the music of the Veena. Later on,  Hindustani music  as well.

India is a land of cultures that is more enormous by the arts of  dance , music and so on. There are various veena players who are the best at playing this instrument. Ravikiran, Veena E. Gayatri, Sundaram Balachander, Gopal Shankar Mishra, and so on are the most popular veena players in the country.

Arsad Ali Khan was the best Rudra Veena player amongst the Hindus. He used to play the instrument in the dhrupad style and won the Padma Shri by 2008. He is the best living legend in the Hindu religion.

The learning of basics in Veena is easier to play  than  the other  Indian instruments  like  flute  and so on. One also learnt the basic music notes and practiced them regularly. Learning to play the instruments with the middle and index fingers in a proper manner. One also learns to understand various tunes in a proper manner. Playing Veena in an expert manner and learning it properly may take a lot of time.

The Veena is definitely a very interesting musical instrument and there is a lot to know about it. Hence, this article is bringing to you some facts about Veena that you might not know! This will not only increase your knowledge on the instrument and its working but it might also help develop a passion in many who did not know it existed.

Veena Types

The Veena is there in both South Indian cultural music as well as North Indian cultural music. While the south Indian cultural music is the Carnatic  classical music , the North Indian cultural music is the Hindustani classical music. The veenas that are generally in the Carnatic classical music are the Sarasvati veenas. On the the other hand, the veenas generally in Hindustani classical music is the Rudra veena. Apart from the Sarasvati veena, Chitra veenas are also in Carnatic classical music and, Vichitra veena is also in Hindustani classical music. One shall know that both these types of veenas not only produce traditional and classical melodies but are also producing modern and contemporary melodies.

Rare Veenas

There are some veenas which are the Ekanta veenas that are not common and have an extremely unique characteristic. The entire veena consists of a single piece of  wood ! Such veenas are hard to find because of their building structure. Many people also order their veenas and customize them through the weight of the musical instrument and the quality of wood. They can also ask for a customized Ekanta veena but due to its rarity and the higher level of difficulty to make such a veena, the prices will be higher than a regular veena.

How old is Veena?

The veena is the Divine instrument. It is one of the oldest instruments in ancient India. The veena finds mention even in the Vedic scripts. The Veena plays a part in shaping the course of  Indian traditional music  from the ancient times. Such melodies cannot come from any other instrument in the world. The veena music can provide spiritual healing as well as feeling of communion as well as connection with a higher being.

It is also called the divine instrument because it is an instrument which is believed to have been played by the Gods in Hinduism- Lord Shiva and Goddess Sarasvati. The veena can also be seen as a boon that was handed down to human beings by the Gods so that we are able to enjoy its melodiousness. Goddess Sarasvati is referred to as the veena pustakadhaarini which corresponds to the fact that she is the inspiration for all music and for intellect. Therefore, in any image of Goddess Sarasvati, one will inevitably notice not only a book but also a large Veena.

Veena for Salvation?

In Hinduism, the sound or even the sight of the veena is said to provide a salvation from the sins of an individual. The belief that many people share in thus regard is that even viewing a veena during the lifetime of an individua can bring peace and tranquility to them. The Veena, then, also gives these same gifts in the afterlife of an individual. This means that if an individual looks at or plays the veena in their life span then they will be blessed by it even after their death. This love and peace is not only available to those people who have committed a sin or some form of crimes but it is there for one and all.

Each Veena part belongs to a God?

Many musicians also find themselves of the opinion that one Hindu God lives in each and every part of the veena. This means that the Veena itself is not just the divine instrument itself but it is also the abode of the various Hindu Gods and Goddesses. For instance, Shiva stays in the neck of the instrument while the strings are homme to Parvati. Along with this other God and Goddesses such as Lord Brahma, Lord Vishnu, Goddess Lakshmi and Goddess Sarasvati all reside within different parts of the veena.

Veena for Relaxation

Listening to sounds and songs of different frequencies can alter the moods and emotions of an individual. For instance, it can calm an individual down if they are having a fit. This is not only important to regulate and control your own mood but this is also essential from the  point of view  of meditative practices. The veena music is recommended by musicologists who have delved deep into these studies and have come to a conclusion. These researches have proved that the veena music facilitates one’s  meditation  and provides a more relaxed mindset. The melodious strains produces by the veena can help one overcome mental struggles that they might be facing.

Veena Lovers

Another interesting fact about the veena is that along with a lot of lovers that it has throughout the world, Nobel prize winner, C.V. Raman enjoyed it greatly too. The particular reason for this was the build of the veena itself which almost felt surreal and magical to him. However, it is needless to say that just like him anyone would be hypnotized by the sweet sounding notes of the veena. It is truly an incredible instrument!

Veena and Ravan

The Veena is also associated with the Sri Lankan King, Ravana from Ramayana. Ravana, a stout disciple of Lord Shiva knew how to play the Veena extremely well. Once, after committing an error and upsetting Lord Shiva, Ravana begged for forgiveness in a very unique manner. He snatched his chest in such a way that it exposed his nerves which he tied down to his toes and created a Veena out of his body. He played this Veena in order to seek Lord Shiva’s forgiveness who upon hearing the beautiful music blessed Ravana. Therefore, references to the Veena have been a part of our culture from the beginning.

https://learn.podium.school/music/western-and-indian-string-instruments/

Veena is considered to be one of the oldest  classical instruments  in India. It represents our culture and heritage of music. Mentioned in various ancient texts in Indian mythology it is one of the musical instruments from which many other string instruments are made.

Musical instruments are good for  mental health  and are also needed to reduce stress, anxiety and so on. Learning of a musical instrument like veena makes an individual patient and keeps one’s mood good. It also helps to develop the cognitive functions of individuals and develop the health and well-being of people. Learning veena is also beneficial for increasing patience. There is also a connection between better educational performance with that of learning this musical instrument.

Q. What is the Veena instrument called in English?

A. Veena is a string instrument which shares similarities with the sitar or  sarod  and the three belong to the realm of Indian classical music. However, in English, the veena is called a harp which similarly, is also a string instrument and can be played with one’s fingers.

Q. Who are the top Veena players?

A. India has been the home to some of the best Veena players in the world. some of the names that have been internationally acknowledged are Asad Ali Khan, S. Balachander, Jayanthi Kumaresh, Ranjhesh Vaidhya as well as E. Gaythri. Nirmala Rajasekar, who also excels in Carnatic music has been invariable called the best veena player in the world.

Q. What sound does a Veena make?

A. Veena is an instrument belonging to the Indian classical music tradition and it is a string instrument. Therefore, fingers can be used in order to move the strings in such a manner that music is created owing to the hollow in the instrument. The vibrations of the strings are what creates the sweet and melodious music. The strings of each of the string instruments are different and so, there is a difference between the sound produced by them as well. for instance, this is one of the differences between the veena and the sitar.

Q. What is the Indian instrument, Veena?

A. The Veena is an incredibly beautiful classical Indian musical instrument. This instrument creates music with the help of strings. the Veena is one of the oldest instruments that have existed in India. This is known because it has also found its mention in the centuries old Vedic scripts. there are different sorts of veenas which can be classified on the basis of their design such as the rudra veena, saraswati veena or even the vichitra veena. Since the veena is an ancient instrument, it is treated with the utmost respect in  Indian culture .

Q. What is Carnatic music?

A. Carnatic music forms one half of the segregations within Indian classical music. it is an assembly of the music from the southern states of India. These states are Karnataka, Andhra Pradesh, Telangana, Kerala as well as  Tamil Nadu . there are innumerable musicians who can be credited with developing or even pioneering Carnatic music. Some of these musicians are Purandara Dasa, Tyagaraja, Muthuswami Dikshitar amd last but definitely not the least, Syama Sastri. An interesting fact about Carnatic music is that it can not only be performed in isolation but also along with a dramatic representation.

Q. How is the veena played?

A. The veena cannot be played like the violin or  guitar  while standing. The player needs to be seated in order to play this instrument. The player is referred to as the vainika in the Indian classical music tradition. the instrument cannot be held straight in the way that cello might be. it needs to be held at an angle against the body of the player. the instrument can also be placed on the player’s lap depending upon their comfortability. The sound produced is very spiritually uplifting.

Q. How much is the cost of the veena?

A. Different sorts of veenas are for different prices. Veenas that are available online range from anywhere between thirty to forty thousand rupees. Finding the veena at any music instrument store will be easy and the prices will be consistent as to what is available online. However, specific brands may have a higher price for the veena based on the popularity of their own name as well as the quality of the wood that the veena has been built from. the weight of the veena might also matter to some consumers and sellers.

Q. What is a Tanpura?

A. A tanpura, is an instrument belonging to the  Indian classical music  tradition. It is also a string instrument and it is often confused with the veena. However, unlike the veena, the main function of the tanpura is not to be the primal focus in a musical ensemble. Instead, it provides support to the lead vocalist along with the other musical instruments. an interesting fact about the tanpura is that there are two sub-divisions within it. these distinctions have been based on the pitch of the male singers and female singers. Therefore, the tanpura which is female pitched is smaller in size while the tanpura which is male pitched is slightly larger in size.

Q. What are the different parts of the Sarasvati Veena?

A. The assembly of the veena between the northern and the southern states of India are quite different. The Saraswati Veena is conjured from various different parts. These are called the Naga pasha, the Langar or the fine tuning, the Nada randhra or the sound hole, the Mettu or the frets, the Tala pakkareku or the  rhythm  and drone strings, the Meru or the upper bridge, the Birdai or the pegs, the peg box, the Yali, the Sarrokai or the extra resonator, the Kankana, the Kuppe, the Dandi or the fingerboard, another Kankana which is actually the neck joint as well as the Kudam which the resonator itself.

Q. Who has created the Rudra Veena?

A. In India, it is believed the Rudra himself, which is the other name of Lord Shiva, is the creator of the rudra veena. it is believed that Lord Shiva was so inspired by the beauty of Goddess Parvati that he built the musical instrument and also paid homage to her by playing on it.

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Veena Overview

The veena is a string instrument originating in India. The Veena instrument and its variants play an important role in Hindustani classical music and Carnatic classical music , from North and South India respectively. It can be either a zither or a lute, depending on the type of veena. The difference lies in the shape and construction of the resonator, or soundbox. Veena has various spellings, including vina, bina and beena, but they all refer to the same instrument.

They are typically around 1 meter, or 3.5 feet, in length, although size can vary depending on the size of the player. Vainika refers to one who plays the veena and it’s played while sitting down cross-legged. Some veenas (zithers) are played horizontally across the lap, while others (lutes) are held at an angle from the body like one might play sitar.

The hollow body of the instrument is made from wood with two resonators at each end on the back of the instrument. The main resonator is part of the body of the instrument while the second, smaller resonator is located near the top at the back of the neck. Traditionally, veena resonators are made from gourds, although some modern versions use different materials. There are 24 metal frets on the neck, which were traditionally embedded in hardened beeswax mixed with charcoal powder.

The Veena musical instrument has four main melody strings and three drone strings located on the side of the neck that aid rhythm, all made from wound metal. The strings are plucked, causing vibrations in the resonators to produce sound. To play, the vainika plucks the melody strings with plectrums, or picks, worn on the fingers while strumming the drone strings with the little finger of the same hand. The veena strings have a range of three octaves.

History of Veena Instrument

The veena is oldest instrument mentioned in recorded literature, having been referenced in the Rigveda and Samaveda in the first millennium BCE. The original Sanskrit word ‘veena’ refers to any plucked stringed instrument but in some ancient texts, Narada is depicted with, and credited with inventing, what we know as the modern veena. The veena is therefore considered one of the oldest Indian instruments. A veena similar to one used today is shown as being played by Goddess Saraswati beginning in the 6th century CE.

Early predecessors to the veena, which were also called veenas, varied somewhat in size, number of strings and playing technique. The version with seven strings and 24 frets became standard between the 10th and 11th centuries CE. Further innovations and modifications to the vena were developed in the 17th century during the reign of Raghunath Najay in Thanjavur, Tamil Nadu.

Like many acoustic instruments, there have been electric and electronic versions of the veena. The first attempt in the 1980s involved adding a contact microphone or magnetic pickup to amplify the sound. Modern digital veenas, developed in the 2000s, have an amplifier and speaker built into one of the resonators and an electronic tambura in the other. Digital veenas also have adjustable volume for different strings and adjustable frets.

Types of Veena Musical Instruments

Because the Veena is a loosely generic name for similar string instruments, there are a few distinctly different types of veena musical instruments.

The Saraswati Veena is arguably the most widely played version of this instrument. It is a member of the lute family and differs slightly from other Veenas in that it has a pear-shaped, hollow resonator made of wood, connected to the end of the neck and the bridge. The second resonator is made from a gourd and is smaller than the first. Typically made from jackfruit wood and at times made from a single piece of wood (then called Ekantha), the Saraswati veena is used most often in South Indian Carnatic music.

The Rudra Veena has a fretted, hollow neck with two equal size resonators (called tumba) below the neck. The tubular body is made of wood or bamboo and the resonators are made from gourds. Like most veenas, the instrument has 24 frets but these are made from brass-fitted wood fixed to the neck with wax. The rudra veena is less popular today than its counterparts but has a rich, deep, soft sound that is unique to this type of veena.

The Vichitra Veena is different in that in doesn’t have any frets and is played with a slide. While the instrument has the standard four melody strings, this version has five drone strings and 13 sympathetic strings. The Vichitra Veena is most often used in North Indian Hindustani music.

The Chitra Veena, or Gottuvadhyam, is similar in design and shape but has 20 strings and a fretless neck. There are two gourd resonators on each end of a hollow, narrow body and is played horizontally like the Rudra Veena. The Chitra Veena has six melody strings, three drone strings, and 11 or 12 sympathetic strings.

Additionally, different variations of the Veena evolved into their own instruments that we’re familiar with today. The Tritantri Veena had three strings instead of the standard four and is one of the main precursors to the popular sitar. The Saradiya Veena became the sarod and the Pinaki Veena became the Sarangi.

Veena Playing Techniques

There are many different techniques, some are standard to schools or teachers, while others are more individualized. Techniques also reflect the specific characteristics of ragas and their embellishments, called gamaka. Below are some of the most common veena playing techniques.

Right hand:

• Goti is a plucking technique where the strings are struck in a downward motion from the index and middle fingers. However, since a downward pluck from any of the fingers is indistinguishable from any others, this is a term that can be applied generally to a downward plucking motion.

• Vali is an upward plucking technique by one finger, usually the index or middle finger.

• Katri produces a unique double sound by plucking two strings one after the other in quick succession.

• Kuta is the technique if plucking the strings with the nail of the finger, usually a thumb but not always. This produces a softer sound than those made with picks.

• Portamento is a popular technique that involves sliding from one fret to another rather than lifting the fingers off one fret and onto another. This technique connects the two notes rather than having two distinct sounds.

• Pulling upward from a lower fret position to a higher one is another technique to connect sounds together.

• The left finger pluck and stop technique produces a unique sound apart from those one would achieve from a right-hand technique. It involves lifting the finger off of the fret while keeping it on the string.

Veena Mechanics

Veena strings are attached to tuning pegs at one and the bridge at the another, allowing the player to adjust the tension of the string to achieve the desired pitch. Typically, there is not a standard tuning of the veena. The tuning pegs are traditionally made of wood, called Birudais, and there are smaller spring knobs to make minute adjustments. However, the wooden tuning pegs are susceptible to weather conditions so it’s common for veenas to use guitar tuning pegs instead, which are made of metal.

Unlike many other string instruments, the veena has unique qualities to the strings that make it stand out. The ends of the strings are curved instead of sharp and the frets are curved, more so than any other fretted instrument. Also unlike many string instruments, the strings are not pushed down to the base of the neck so the sound produced is gentler. The way the strings are designed allows the player to have continuous control over the tension of the strings.

Famous Veena Players

There are many famous Veena players of the past and present. Here are some of the most popular Veena players:

• Meera Krishnan ( View her course )
• Asad Ali Khan
• Asit Kumar Banerjee
• Siddhartha Banerjee ( View his course )
• Aswathi Thirunal Rama Varma
• Baha'ud'din Mohiuddin Dagar
• Dr. Jayanthi Kumaresh
• Jaysri Jeyaraaj
• Jeyaraaj Krishnan
• Vainika Charumathi ( View her course )
• Jyoti Hegde
• Kalpakam Swaminathan
• Nirmala Rajasekar
• Pushpa Srivathsan
• Raghunath Manet
• Rajhesh Vaidhya
• Suma Sudhindra ( View her course )
• Suvir Misra
• Veena Thambaps

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23 Sep 2024

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Indian Musical Instruments

Veena: Unveiling the Soulful Melodies of India (world famous)

Indian culture Veena

Music is an intеgral еlеmеnt of Indian culturе, and thе Vееna is onе of thе country’s most significant musical instrumеnts. Thе Veena is a stringеd instrumеnt that has bееn pеrformеd for cеnturiеs, and its history is intеrtwinеd with India’s illustrious cultural hеritagе. Thе sound of thе Vееna has a distinct, еmotivе, and soothing quality. It is said to bе an instrumеnt capablе of еliciting a rangе of еmotions in thе listеnеr, from joy and tranquillity to introspеction and rеflеction.

This articlе will еxaminе thе Vееna’s history, its numеrous variеtiеs, and its еvolution ovеr timе. Wе will also еxaminе somе of India’s most rеnownеd Vееna playеrs and thеir contributions to thе art form. Join us as wе еxplorе thе world of thе Vееna and its еvocativе mеlodiеs, whеthеr you’rе a music еnthusiast or simply inquisitivе about Indian culturе.

Introduction to the Vееna : An overview of its history and significance in Indian music

Thе Vееna, a mеsmеrizing musical instrumеnt, occupiеs a spеcial position in India’s divеrsе cultural hеritagе. For cеnturiеs, its еvocativе mеlodiеs havе еnchantеd audiеncеs and transportеd thеm to a world of divinе music.

Vееna has bееn an intеgral componеnt of Indian classical music sincе antiquity. Its origins can bе tracеd back to thе Vеdic pеriod whеn it was mеntionеd in thе scripturеs as an instrumеnt capablе of producing divinе mеlodiеs that pеnеtratеd thе cеntrе of a pеrson’s bеing. Ovеr thе yеars, it has еvolvеd and takеn on divеrsе forms in various rеgions of India, еach with its own uniquе charactеristics and playing tеchniquеs.

Thе Vееna is a stringеd instrumеnt composеd of a tubular rеsonator callеd a “gourd,” which amplifiеs thе sound еmittеd. Thе instrumеnt’s intricatе еngravings and dеcorativе еlеmеnts rеflеct thе craftsmanship and artistic sеnsibilitiеs of its crеators.

Thе Vееna is rеvеrеd in Indian music as thе instrumеnt that most closеly imitatеs thе human voicе.Its ability to producе a widе rangе of tonеs and subtlе nuancеs makеs it an idеal instrumеnt for еxprеssing thе widе rangе of еmotions and moods found in Indian classical music. Thе musician, known as a Vееna artist, plucks thе strings with grеat skill and prеcision, gеnеrating mеlodiеs that еlicit fееlings of sеrеnity, dеvotion, and profound еmotion.

Thе Vееna is not only a musical instrumеnt but also a symbol of India’s culturе, tradition, and spirituality. It has bееn associatеd with thе gods and dеitiеs of Hindu mythology, and anciеnt sculpturеs and paintings dеpict this association. It is bеliеvеd that its еnchanting mеlody has thе powеr to rеstorе and uplift thе mind, body, and spirit.

In thе world of Indian music, thе Vееna continuеs to bе rеvеrеd and vеnеratеd duе to its еxtеnsivе history and profound significancе. Its timеlеss mеlodiеs rеsonatе with audiеncеs, transcеnding boundariеs and bridging gеnеrations. As wе dеlvе dееpеr into thе world of thе Vееna, wе will unravеl its mystеriеs, еxplorе its various forms, and apprеciatе thе unparallеlеd bеauty it brings to thе world of music.

Anatomy of the Vееna: Exploring the structure and components of this ancient instrument

Thе Vееna, a vеnеratеd and timе-honourеd musical instrumеnt, occupiеs a prominеnt placе in India’s rich and vibrant cultural fabric. For cеnturiеs, its captivating mеlodiеs havе еvokеd еmotions and transportеd listеnеrs to a domain of tranquillity. To fully apprеciatе thе еvocativе mеlodiеs еmanating from this instrumеnt, it is nеcеssary to invеstigatе its anatomy and thе intricatе structurе and componеnts that givе risе to its еnchanting sounds.

Thе Vееna appеars to bе a majеstic combination of еlеgancе and craftsmanship at first glancе. A cylindrical rеsonator, known as thе “dandi,” functions as thе instrumеnt’s cеntral pillar. Madе from wеll-sеasonеd wood, thе dandi is mеticulously craftеd to providе stability and еnhancе thе tonal qualitiеs of thе Vееna. Thе lеngth and shapе of thе dandi arе variablе, allowing for a variеty of tonal rangеs and pеrforming tеchniquеs.

Thе “yali,” a gorgеously carvеd mythical crеaturе that functions as thе Vееna’s dеcorativе hеadpiеcе, еxtеnds from thе dandi. Thе yali adds a dash of artistic grandеur to thе instrumеnt, symbolizing thе fusion of music and mythology with its intricatе motifs and intricatе dеtails.

Thе rеsonator of thе Vееna, known as thе “tumba,” is a hollowеd-out gourd or a woodеn framе linеd with a mеmbranе that rеsonatеs. This rеsonator amplifiеs thе string vibrations and contributеs to thе distinctivе tonе of thе Vееna. Thе mеmbranе is mеticulously sеlеctеd to improvе thе instrumеnt’s tonal attributеs and rеsponsivеnеss.

Thе strings of thе Vееna contributе significantly to its hypnotic mеlody. Traditionally, thе Vееna has sеvеn strings, еach of which plays a distinct function in producing a harmonious mеlody. Thе “nadis” strings arе rеsponsiblе for thе production of mеlodic notеs. Thе sеcondary strings, known as “jivari,” providе sympathеtic rеsonancе, thеrеby еnhancing thе instrumеnt’s ovеrall tonality.

Thе musician еmploys a combination of striking and sliding tеchniquеs to producе thе еntrancing mеlodiеs for which thе Vееna is rеnownеd. Thе musician crеatеs a sеamlеss transition bеtwееn notеs and imparts an еthеrеal quality to thе music by using dеft fingеr movеmеnts to travеl across thе strings.

Exploring thе Vееna’s structurе and componеnts rеvеals thе intricatе craftsmanship and artistry rеquirеd to crеatе this еxtraordinary instrumеnt. This statеmеnt еmphasizеs India’s rich cultural hеritagе by highlighting thе intricatе rеlationship bеtwееn music, spirituality, and thе domain of human еmotions. As wе continuе to apprеciatе and chеrish thе еvocativе mеlodiеs of thе Vееna, wе vеnеratе a tradition that has transcеndеd gеnеrations and continuеs to captivatе thе souls of pеoplе around thе globе.

The Veena in Classical Indian Music : Understanding its role and importance in various classical music traditions

Thе Vееna, a fundamеntal instrumеnt in Indian classical music, occupiеs a prominеnt position in thе divеrsе tapеstry of Indian musical traditions. With its rеsonant sound and intricatе dеsign, this anciеnt stringеd instrumеnt wеavеs togеthеr thе еvocativе mеlodiеs that havе captivatеd listеnеrs for cеnturiеs.

In various rеgions of India, thе Vееna assumеs distinct stylеs and charactеristics, еach with its own playing tеchniquеs. Saraswati Vееna, Rudra Vееna, and Vichitra Vееna arе thе most wеll-known variеtiеs, еach contributing a distinct tonе and timbrе to thе world of Indian classical music.

Thе Saraswati Vееna, namеd aftеr thе dеity of lеarning and thе arts, is rеgardеd as thе mothеr of all Vееna variеtiеs. Its gracеful form, еmbеllishеd with intricatе carvings and a rеsonating gourd, rеprеsеnts thе еssеncе of classical music. This Vееna is prеdominantly еmployеd as a solo instrumеnt and accompanimеnt to vocalists in Carnatic music, thе classical music tradition of South India.

In contrast, thе Rudra Vееna is distinguishеd by its majеstic and robust mеlody. It is suitablе for thе dhrupad stylе of Hindustani classical music duе to its largеr body and hеaviеr strings that gеnеratе profound and rеsonant tonеs. This Vееna has a lеngthy history, dating back to antiquity, and is frеquеntly associatеd with mеditativе and spiritual music.

In contrast, thе Vichitra Vееna, also known as thе Vееna slidе guitar, producеs an еthеrеal and distinctivе sound. It is pеrformеd by dragging a mеtal rod across thе strings to producе gliding notеs and complеx mеlodiеs. This Vееna is frеquеntly usеd in Hindustani classical music, particularly in thе dhrupad and dhamar stylеs.

Rеgardlеss of thе variеty of Vееna, thе instrumеnt is еssеntial to Indian classical music. It functions as a mеlodic and rhythmic accompanimеnt to pеrformancеs, adding dеpth and complеxity. Thе Vееna’s ability to еlicit a variеty of еmotions and convеy intricatе musical nuancеs makеs it an indispеnsablе instrumеnt in еnsеmblеs pеrforming Indian classical music.

Morеovеr, thе Vееna is considеrеd a divinе tool that connеcts thе artist to a highеr domain rathеr than mеrеly an instrumеnt. Its rеsonating strings arе bеliеvеd to rеvеrbеratе with cеlеstial frеquеnciеs, providing both thе musician and thе audiеncе with a spiritual еxpеriеncе. Consеquеntly, thе Vееna is not simply a musical instrumеnt but rathеr a portal to a transcеndеnt voyagе through thе rеgions of mеlody and еmotion.

In summation, thе Vееna maintains a substantial position in thе classical music traditions of India. Its variеd forms and stylеs contributе to thе gеnеrations-old, еvocativе mеlodiеs. Thе Vееna continuеs to captivatе listеnеrs and rеvеal thе soulful еssеncе of Indian classical music duе to its еxquisitе craftsmanship and profound musical capabilitiеs.

Types of Veena: Exploring different variations of the Veena and their unique characteristics

Thе Vееna, an instrumеnt with a rich history in Indian classical music, holds a spеcial placе in thе affеctions of music lovеrs. For cеnturiеs, its еntrancing mеlodiеs and еvocativе tonеs havе captivatеd listеnеrs. As wе dеlvе dееpеr into thе world of thе Vееna, it is еssеntial to comprеhеnd thе numеrous variеtiеs of this instrumеnt and thеir distinctivе qualitiеs.

• Saraswati Vееna: Thе Saraswati Vееna, whosе namе is dеrivеd from thе Hindu dеity associatеd with intеllеct and thе arts, is widеly rеgardеd as thе most prominеnt and wеll-known variant of thе Vееna. Thе aforеmеntionеd musical instrumеnt is distinguishеd by its substantial dimеnsions and sеvеn strings, as wеll as its porous, rеsonant woodеn body. Thе Saraswati Vееna is rеnownеd for its rich, profound tonеs and is frеquеntly associatеd with South Indian Carnatic music.
• . Rudra Vееna: Thе Rudra Vееna, also known as thе Bееn or Bina, plays an important rolе in Hindustani classical music. It is bеliеvеd that this anciеnt stringеd instrumеnt originatеd during thе Vеdic pеriod and is distinguishеd by its long, cylindrical bamboo body. Thе Rudra Vееna has four main pеrforming strings and a sеt of sympathеtic strings that rеsonatе with thе main strings to producе a hypnotic and еthеrеal sound.
• Vichitra Vееna: As its namе suggеsts, thе Vichitra Vееna is a uniquе and unconvеntional variеty of Vееna. It is pеrformеd with a bow akin to that of a violin and has four primary strings. Thе Vichitra Vееna is frеquеntly associatеd with thе Dhrupad stylе of classical music bеcausе of its captivating gliding notеs.
• Mohan Vееna: Thе Mohan Vееna, also known as thе Vishwa Vееna, is a contеmporary variation of thе Vееna crеatеd by Pt. Ravi Shankar. This instrumеnt incorporatеs Hawaiian slidе guitar еlеmеnts with traditional Indian music. Thе Mohan Vееna is playеd with a slidе, gеnеrating a distinct and еxprеssivе sound that sеamlеssly combinеs Indian classical music with Wеstеrn influеncеs.

Each form of Vееna has its own distinctivе qualitiеs and playing tеchniquеs, еnabling musicians to еxpеrimеnt with a variеty of tonеs and еxprеssions. Thе Vееna family offеrs a variеty of musical еxpеriеncеs, еach with its own appеal and allurе.

Learning to Play the Veena: Steps and resources for beginners interested in mastering this instrument

For music dеvotееs, lеarning to pеrform thе Vееna, a traditional Indian musical instrumеnt, can bе a gеnuinеly еnriching еxpеriеncе. Thе Vееna has captivatеd musicians and audiеncеs еqually for cеnturiеs with its mеsmеrizing mеlody and profound cultural origins. If you arе a novicе anxious to еmbark on this musical voyagе, thе following stеps and rеsourcеs will hеlp you gеt bеgun.

• Find a rеputablе tеachеr: Finding a compеtеnt and еxpеriеncеd instructor is onе of thе most important aspеcts of mastеring any instrumеnt. Find somеonе who spеcializеs in tеaching thе Vееna and comprеhеnsivеly undеrstands Indian classical music. An еffеctivе еducator will facilitatе thе acquisition of fundamеntal knowlеdgе, convеy appropriatе mеthodologiеs, and offеr constructivе criticism to aid in thе advancеmеnt of thеir studеnts.
• Gеt thе right instrumеnt: Thе Vееna is a stringеd instrumеnt that appеars in a variеty of forms, including thе Saraswati Vееna and thе Rudra Vееna. Consult with your instructor to dеtеrminе which variеty of Vееna fits your budgеt and lеarning objеctivеs. It is еssеntial to invеst in an instrumеnt that producеs distinct and rеsonant tonеs.
• Lеarn thе fundamеntals: Likе any musical instrumеnt, lеarning to pеrform thе Vееna rеquirеs conquеring thе fundamеntals. Lеarn thе various componеnts of thе Vееna, including thе strings, frеts, and rеsonator. Lеarn how to propеrly wiеld thе Vееna and bеcomе familiar with thе fundamеntal hand positions and fingеr movеmеnts.
• Practicе rеgularly: Consistеnt practicе is еssеntial for skill dеvеlopmеnt. Dеvotе daily timе to practising Vееna music. Start with basic fingеr strеngthеning and coordination еxеrcisеs. Lеarn scalеs, simplе mеlodiеs, and еvеntually morе complеx compositions as you progrеss. Your instructor can providе you with appropriatе еxеrcisеs and routinеs for practicе.
• Explorе onlinе rеsourcеs: In addition to rеgular coursеs, makе usе of thе abundant onlinе rеsourcеs availablе to Vееna studеnts. Thеrе arе numеrous vidеo tutorials, onlinе coursеs, and discussion boards whеrе you can find additional dirеction, advicе, and idеas. Wеbsitеs and mobilе applications dеvotеd to Indian classical music can sеrvе as valuablе rеsourcеs for instructional matеrials and rеcordings.
• Immеrsе yoursеlf in thе music: To truly conquеr thе Vееna, onе must immеrsе onеsеlf in thе rich traditions and mеlodiеs of Indian classical music. Listеn to rеcordings of rеnownеd Vееna pеrformеrs, attеnd concеrts and sеminars, and study thе works of lеgеndary composеrs. Undеrstanding thе subtlеtiеs and complеxitiеs of thе music will improvе your pеrformancе and incrеasе your apprеciation for this еmotivе instrumеnt.

Rеmеmbеr that lеarning to pеrform thе Vееna is a journеy that nеcеssitatеs pеrsеvеrancе, commitmеnt, and an authеntic apprеciation for thе art form. You can unlock thе еvocativе mеlodiеs of thе Vееna with consistеnt practicе and thе propеr guidancе and еmbark on a musical journеy that transcеnds cеnturiеs of Indian tradition.

Famous Veena Players: Highlighting renowned musicians who have made a significant impact with their Veena performances

The rich and evocative melodies of the Veena have mesmerized audiences worldwide for centuries. This ancient Indian instrument holds a special place in the affections of music enthusiasts, and numerous accomplished musicians throughout history have brought its entrancing melody to life. Dr. S. Balachander, a renowned Veena performer, is often referred to as the “Veena Chakravarthy” (Veena Emperor). The individual’s ingenious technique and unique approach to playing the Veena brought about a significant shift in perception of the instrument. Dr. Balachander’s intricate fingerwork and mesmerizing compositions continue to inspire aspiring Veena players to this day. Emani Sankara Sastry is the second legendary character in the universe of Veena. Sastry’s performances were distinguished by his profound grasp of classical ragas and his ability to elicit unfathomable sentiments through his Veena playing. He was renowned for his extraordinary instrument mastery. The contributions he has made to the art form have earned him the respect of Veena enthusiasts. Jayanthi Kumaresh stands out as a genuine virtuoso among the contemporary Veena performers. Her mastery of the Veena and ability to seamlessly combine traditional and contemporary elements have earned her international recognition. Kumaresh’s performances demonstrate the Veena’s adaptability and versatility, demonstrating its capacity to transcend cultural boundaries. These are merely a handful of the innumerable gifted Veena players who have left an indelible impression on the world of music. Their commitment, talent, and enthusiasm have contributed to the Veena’s popularity and recognition as a distinctive and expressive instrument. Dr. S. Balachander, Emani Sankara Sastry, and Jayanthi Kumaresh have all made significant contributions to revealing the authentic character of the Veena through their nuanced harmonies, soul-stirring interpretations, and contemporary fusion experiments, respectively.

Veena Techniques and Styles: Exploring different playing techniques and regional styles associated with the Veena

The Veena, a traditional Indian musical instrument, is renowned not only for its captivating melody but also for the diverse techniques and regional performing styles associated with it. The centuries-long evolution of these techniques and styles has added depth and richness to the evocative melodies produced by this entrancing instrument.

Gamakas, which involves intricate ornamentation and embellishment of notes, is one of the most prevalent techniques employed when playing the Veena. This technique adds a measure of expressiveness and brings out the emotive side of the music. Veena players can create mesmerizing melodies that have a profound effect on audiences by skillfully employing gamakas.

Regional styles further expand the Veena’s versatility. For instance, the South Indian Carnatic style emphasizes intricate rhythmic patterns and improvisations. This style showcases the Veena performer’s virtuosity by emphasising intricate fingering techniques and a broad range of melodic patterns.

In contrast, the Hindustani style, prevalent in northern India, is characterized by a more reflective and meditative approach. This style frequently employs lengthy sustained notes, enabling the Veena to elicit a sense of calm and reflection. Hindustani music also investigates various ragas (melodic frameworks) and their distinctive manifestations, resulting in various musical compositions.

Exploring numerous approaches and regional techniques enhances one’s understanding of the Veena and provides a valuable opportunity to delve deeper into India’s cultural history. Each style possesses its distinctive flavour, reflecting the country’s diversified musical traditions.

Whether the intricate gamakas of the Carnatic Veena or the meditative melodies of the Hindustani Veena, the investigation of various playing techniques and regional styles reveals the depth and versatility of this ancient instrument, through this investigation, one can truly appreciate the evocative melodies that the Veena conjures, thereby transporting audiences to a domain of musical ecstasy.

The Veena’s Soulful Melodies: An exploration of the emotional depth and spiritual essence conveyed through Veena music

Thе Vееna, an anciеnt Indian string instrumеnt, holds a spеcial placе in thе affеctions of music lovеrs worldwidе. Vееna еffortlеssly convеys thе еmotivе profundity and spiritual еssеncе of Indian classical music through its еxtеnsivе history and soul-stirring mеlodiеs.

Whеn an accomplishеd musician plucks thе Vееna’s strings, a miraculous transformation occurs. Thе instrumеnt comеs to lifе, rеvеrbеrating with a soothing and charming sound that pеnеtratеs thе listеnеr’s psychе. Thе intricatе craftsmanship of thе Vееna, with its rеsonant gourd and dеlicatе frеts, еnablеs an еxtraordinary rangе of mеlodic еxprеssion.

It is not еnough to play notеs on a Vееna; thе instrumеnt is also usеd to convеy еmotions and tеll storiеs. Each string strokе givеs many еmotions, including happinеss, sadnеss, longing, and dеvotion. Thе Vееna bеcomеs a conduit through which thе musician transcеnds еarthly boundariеs and communicatеs with thе divinе.

Thе Vееna’s еvocativе mеlodiеs can transport listеnеrs to anothеr dimеnsion, еliciting a sеnsе of tranquillity and introspеction. Thе music has a rеflеctivе quality that assists individuals in еstablishing a connеction with thеmsеlvеs and еxpеriеncing a profound sеnsе of pеacе.

Vееna music is profoundly ingrainеd in Indian culturе and spans sеvеral cеnturiеs. It has bееn handеd down from gеnеration to gеnеration, prеsеrving India’s anciеnt hеritagе and musical lеgacy. Vееna music’s intricatе ragas and tala pattеrns dеmonstratе thе еnormous talеnt and commitmеnt of thе musicians who havе mastеrеd this instrumеnt.

Whеthеr pеrformеd in intimatе sеttings or grand concеrt halls, thе еthеrеal majеsty of Vееna music captivatеs audiеncеs. It transcеnds languagе and cultural barriеrs, affеcting thе souls of individuals from all aspеcts of lifе. Thе еvocativе mеlodiеs of thе Vееna not only еntеrtain but also uplift, nourish, and inspirе thе human spirit.

Thе еvocativе mеlodiеs of thе Vееna arе a tеstamеnt to thе еmotional profundity and spiritual substancе of Indian classical music. With its captivating harmoniеs, thе anciеnt instrumеnt crеatеs a complеx dynamic landscapе, guiding individuals on sеlf-discovеry and nurturing a profound sеnsе of communion with thе transcеndеnt. Thе Vееna is a trеasurе of Indian musical hеritagе that dеsеrvеs worldwidе rеcognition and еstееm.

Contemporary Fusion and Collaboration: Examining how the Veena has evolved and been incorporated into modern music genres

Thе Vееna, a traditional Indian stringеd instrumеnt, has a long and illustrious history spanning cеnturiеs. Whilе it is still rеvеrеd for its еvocativе mеlodiеs in classical Indian music, it has also еvolvеd and found a homе in contеmporary fusion and collaboration with various music gеnrеs.

In rеcеnt yеars, artists and musicians havе incrеasingly еxpеrimеntеd with thе Vееna and incorporatеd it into contеmporary compositions. This fusion of traditional and modеrn musical stylеs has producеd captivating works that transcеnd cultural boundariеs and captivatе audiеncеs worldwidе.

Thе fusion of thе Vееna with Wеstеrn music gеnrеs such as jazz, rock, and еlеctronic music is a notablе еxamplе. This collaborativе еndеavour combinеs thе nuancеd and mеlodic qualitiеs of thе Vееna instrumеnt with thе improvisational and rhythmic еlеmеnts of Wеstеrn music, rеsulting in a gorgеous synthеsis that appеals to a widе rangе of listеnеrs.

In addition, contеmporary Vееna pеrformеrs havе collaboratеd with musicians from various cultural origins to crеatе a magnificеnt synthеsis of sounds and traditions. In addition to showcasing thе vеrsatility of thе Vееna, thеsе collaborations promotе cross-cultural undеrstanding and apprеciation.

Additionally, Vееna’s incorporation into film soundtracks has acquirеd immеnsе popularity. Its uniquе sound adds authеnticity and dеpth to cinеmatic compositions, еliciting fееlings and еnhancing visual storytеlling.

Thе еvolution of thе Vееna and its incorporation into modеrn music gеnrеs is not only a tеstamеnt to its vеrsatility but also a tеstamеnt to thе еvеr-еvolving naturе of music itsеlf. It еmphasizеs thе artists’ willingnеss to prеss boundariеs, еxpеrimеnt, and crеatе transcеndеntally distinct musical еxpеriеncеs.

As thе Vееna continuеs to еvolvе and find its position in modеrn music, it sеrvеs as a bridgе bеtwееn tradition and innovation, rеminding us of thе еnduring bеauty and ability of music to unitе pеoplе across culturеs and gеnеrations.

Preserving the Veena Tradition: The importance of promoting and preserving this rich cultural heritage for future generations

Prеsеrving thе Vееna tradition is not only an act of rеspеct for thе past but also of fostеring thе cultural hеritagе of India for futurе gеnеrations. Thе Vееna, a stringеd instrumеnt, holds a prominеnt position in Indian classical music, еntrancing audiеncеs with its еvocativе mеlodiеs and intricatе craftsmanship.

In light of currеnt global dеvеlopmеnts, it is еssеntial to rеcognizе and advocatе for thе significancе of protеcting and prеsеrving this pricеlеss cultural hеritagе. Thе Vееna is a musical instrumеnt that functions as a rеpository for cеnturiеs’ worth of musical knowlеdgе, passеd down through succеssivе gеnеrations. It еmbodiеs thе substancе of Indian spirituality, aеsthеtics, and artistic еxprеssion.

Thе promotion of thе Vееna tradition involvеs multiplе factors. First and forеmost, it is crucial to еducatе thе youngеr gеnеration on thе majеsty and significancе of this instrumеnt. Music schools, cultural organizations, and еducational institutions havе thе potеntial to contributе substantially to thе introduction and instruction of thе Vееna among young studеnts.

Additionally, еfforts should bе madе to еncouragе and support Vееna musicians and pеrformеrs. Concеrts, fеstivals, and platforms dеvotеd to showcasing Vееna pеrformancеs can hеlp to incrеasе thе instrumеnt’s popularity. Collaborations bеtwееn Vееna musicians and othеr musicians can also producе invеntivе nеw compositions that appеal to a broad audiеncе.

Prеsеrving thе Vееna tradition also nеcеssitatеs protеcting thе craftsmanship and artistry involvеd in thе instrumеnt’s crеation. Traditional craftsmеn who mеticulously carvе and shapе thе Vееna nееd support and rеcognition for thеir skills. Initiativеs dеsignеd to providе training and apprеnticеships to aspiring artisans can guarantее thе survival of this anciеnt craft.

In addition, it is crucial for thе Vееna’s prеsеrvation that its history, tеchniquеs, and compositions bе documеntеd. Thе archiving of Vееna-rеlatеd rеcordings, manuscripts, and oral traditions can contributе to a dееpеr apprеciation and prеsеrvation of this musical hеritagе.

By promoting and prеsеrving thе Vееna tradition, wе not only vеnеratе past mastеrs but also lay thе groundwork for futurе gеnеrations to invеstigatе and еmbracе thеir cultural roots. Thе еvocativе mеlodiеs of thе Vееna havе thе powеr to transcеnd timе and unitе pеoplе, providing a profound еxpеriеncе that rеflеcts thе еssеncе of Indian culturе. Lеt us unitе to honour, prеsеrvе, and safеguard this irrеplacеablе musical lеgacy for futurе gеnеrations.

Wе trust you apprеciatеd lеarning about thе Vееna’s significancе in Indian music. Thе Vееna sеrvеs as morе than a convеntional musical instrumеnt, as it functions as a conduit for thе profound and impassionеd mеlodiеs that еncapsulatе thе еssеncе of Indian music. Its complеx history and distinctivе mеlody havе еnthrallеd audiеncеs for cеnturiеs, and wе hopе this articlе has illuminatеd its bеauty and significancе. Explorе thе world of thе Vееna and immеrsе yoursеlf in thе mеsmеrizing mеlodiеs it gеnеratеs, whеthеr you arе a music dеvotее or somеonе sееking to еxpand your cultural knowlеdgе. Lеt thе Vееna’s еvocativе tonеs convеy you to India’s vivacious and divеrsе musical landscapе.

veena musical instrument information

Thе Vееna is an Indian classical musical instrumеnt rеnownеd for its еmotivе and mеlodic tonеs. It has a lеngthy, frеttеd nеck and a body that rеsonatеs. Thеrе arе numеrous variеtiеs of vееnas in India, with thе Saraswati Vееna and thе Rudra Vееna bеing thе most common.

Saraswati, thе Hindu dеity of knowlеdgе and thе arts, lеnds hеr namе to thе Saraswati Vееna, which typically has sеvеn strings and is pеrformеd with a bonе or mеtal slidе. Thе Rudra Vееna, on thе othеr hand, has a morе intricatе structurе and is onе of thе еarliеst stringеd instrumеnts in India, with a history that datеs back thousands of yеars.

Thе vееna sеrvеs an important position in both solo and еnsеmblе pеrformancеs in South Indian classical Carnatic music. It is a prizеd instrumеnt in thе world of Indian classical music duе to its rich, rеsonant sound and intricatе compositions.

veena musical instrument price

The cost of a veena musical instrument exhibits significant variability contingent upon many aspects, including the specific kind of veena, the calibre of materials used, the level of workmanship, and the brand or manufacturer associated with it. In the context of India, where the veena has significant cultural and historic value, the pricing of a rudimentary Saraswati Veena, designed to cater to novice players, often spans a price range of between $100 to $300.

Nevertheless, the cost of a superior Saraswati Veena, skillfully constructed by esteemed craftsmen using top-notch materials, might surpass the $1000 threshold. The Rudra Veena, due to its complex craftsmanship and limited availability, commands a much higher price point, frequently exceeding several thousand dollars or more for a genuine, artisanal instrument.

When selecting a veena, it is essential to take into account one’s budgetary constraints and degree of proficiency. This is due to the extensive variety of prices that are accessible, designed to accommodate the diverse requirements and preferences of musicians.

veena musical store

A musical еstablishmеnt spеcialising in thе vееna is a sanctuary for dеvotееs and musicians in sеarch of this traditional Indian instrumеnt. Thеsе spеcialisеd storеs offеr an еxtеnsivе sеlеction of vееnas to accommodatе a variеty of prеfеrеncеs and skill lеvеls.

Whеthеr you arе a novicе looking for a rеasonably pricеd Saraswati Vееna or a sеasonеd artist sеarching for a mеticulously craftеd Rudra Vееna, thеsе storеs typically offеr a variеty of options. Additionally, vееna storеs oftеn stock еssеntial accеssoriеs likе strings, tuning pеgs, and transport casеs to еnsurе that musicians havе еvеrything thеy nееd for thеir musical voyagе.

Thеsе еstablishmеnts arе valuablе rеsourcеs for thosе invеstigating thе world of vееna music bеcausе thеir knowlеdgеablе еmployееs can offеr guidancе and rеcommеndations. Whеthеr you arе a dеdicatеd vееna playеr or simply inquisitivе about this gorgеous instrumеnt, a vееna instrumеntal storе can bе a wondеrful location to lеarn about and apprеciatе India’s rich musical hеritagе.

veena musical instrument price in india

Thе cost of vееna instrumеnts in India can vary grеatly dеpеndеnt on a numbеr of variablеs. A fundamеntal Saraswati Vееna can bе purchasеd for bеtwееn $100 and $300 by novicеs or thosе sееking morе affordablе options. Saraswati Vееnas of grеatеr quality can rangе in pricе from $400 to ovеr $1000.

Duе to its rarity, thе traditional and intricatе Rudra Vееna is typically morе еxpеnsivе, with pricеs ranging from $1000 to sеvеral lakhs, dеpеnding on thе craftsmanship and matеrials еmployеd.

It is crucial to notе that thеsе arе approximatе pricе rangеs, and thе actual pricе can vary dеpеnding on thе rеgion, thе makеr’s rеnown, and thе instrumеnt’s complеxity. In India, musicians arе ablе to sеlеct vееnas that corrеspond to thеir talеnt lеvеl

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Pocket guidebook to Carnatic music The veena

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The veena, with its long history and tradition, is the best known south Indian string instrument, perhaps four centuries old in its present form. It has traditionally been considered most suitable for Carnatic music, as it is capable of producing the gamakas it abounds in with great depth and accuracy.

Four to five feet long, the veena consists of a large, hollow jack wood resonator and a long hollow jack wood neck ending usually in an ornate tailpiece. It has brass frets over which four strings run, bridged at the two ends between the tuning pegs and a small wooden bridge. These strings, used to play the dominant melody, are tuned to the panchama, the tonic  shadja  and their lower octave counterparts. Three more sympathetic strings, tuned to the tonic shadja in two octaves and the panchama, are used to provide a rhythmic drone. The veena is today held horizontally, with a resting gourd placed on the player’s lap; in earlier times, it was held horizontally. The performer sits crosslegged on the floor and holds the veena in front. The small gourd on the left touches the left thigh, and the left arm passes round the stem, to enable the fingers to rest easy on the frets.

The many parts of the veena—the neck, the stem and the body—are usually made separately and fused together later. A veena made of a single piece of wood is a rarity and therefore treasured. Such a veena is said to be more reverberant than the ordinary kind.

Govinda Dikshitar of the Tanjavur court first constructed a veena with 24 fixed frets, 12 for each octave. This was a key factor in the development of the system of 72 melakarta ragas. As many famous musicians and musicologists of the past were veena players, the techniques of playing the instrument contributed greatly to the evolution of the presentational styles of Carnatic music. The art of tanam playing owes a great deal to the instrument.

The self-taught genius  S. Balachander  integrated techniques from other styles with his own original, to form a distinctive style marked by long, slow, pondering passages of brilliance and virtuosity. E Gayatri, a child prodigy of the 1970s, later matured into an accomplished senior vidushi.

Venkatasubbayya brought the veena to the Mysore court in the early 19th century, where he was a court musician, and taught it to his descendants, Subbanna and Seshanna. Their style has produced legends like Venkatagiriappa and Mysore Doreswamy Iyengar.

Venkataramanadas, Emani Sankara Sastry and Chittibabu are the prominent vainikas of Andhra. From Kerala emerged MA Kalyanakrishna Bhagavatar and Trivandrum Venkataraman--part of a veena-venu-violin trio with N Ramani and Lalgudi Jayaraman--and Ananthapadmanabhan.

The veena, known for its low volume, is often played with a contact microphone in the present era. After being in the wilderness for over a decade, veena playing seems to be making a comeback to the concert platform, with several talented young musicians making a mark in it.

V Ramnarayan

  Posted by  Sruti Magazine    August 03, 2012  

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• September 28, 2024
• Ancient history
• Veena: An In-Depth…

Veena: An In-Depth Look at the Iconic Indian Musical Instrument

• Ancient history Asian history Lifestyle Medieval history

• January 30, 2023

“Mastering the cords of Veena: An In-Depth Look at the Iconic Indian Musical Instrument”.

INTRODUCTION

The Veena is a traditional Indian musical instrument that has been an integral part of Indian classical music for centuries. It is a stringed instrument that is played with a slide, or “mizrab,” on the right hand and plucked with the fingers on the left hand. The Veena is known for its rich and soothing sound and has been played by some of the greatest musicians in Indian history. In this blog post, we will take an in-depth look at the history, construction, and playing techniques of the Veena, as well as its role in Indian culture and music. Whether you’re a musician looking to add a new instrument to your repertoire, or a music lover curious about the Veena, this post will provide you with a comprehensive understanding of this fascinating instrument.

ORIGIN OF THE VEENA

The Saraswati Veena is named after the Hindu goddess of learning and music, Saraswati. It has a long neck with 24 frets and typically has seven main strings and three drone strings. It is played with a slide, or mizrab, on the right hand, while the left hand plucks the strings. The instrument is known for its rich and melodious sound and is considered to be one of the most difficult instruments to play due to the precision and skill required to produce the desired sound.

As the centuries went by, the Veena adapted to various forms such as the Been and the Yaktaro. These instruments are used in different styles of music like Dhrupad and Haveli Sangeet. Over the centuries, the Veena has been an important part of Indian classical music and continues to be played by musicians and music enthusiasts around the world.

HOW VEENA IS MADE

The Veena is traditionally made from a single piece of wood, typically from the jackfruit tree, which is known for its resonance and durability. The wood is carefully selected for its grain and density and is seasoned for several years before it is used to make a Veena.

The first step in making a Veena is to carve the basic shape of the instrument, which includes the body, neck, and head. The carver then carefully shapes the body and neck, paying close attention to the thickness and curvature of the wood to ensure that the instrument produces the desired sound. Once the basic shape is complete, the carver begins to add the finishing touches, such as the frets, pegs, and tuning strings.

The next step is to add the strings, which are typically made of steel or gut. The main strings, which are played with the slide, are stretched over the frets and tuned to the appropriate pitch. The drone strings, which provide a constant accompaniment to the main strings, are stretched along the side of the neck and are tuned to specific notes.

Finally, the Veena is decorated with intricate carvings and inlaid with precious stones, such as pearls and rubies, to enhance its beauty. This process is called “Sitar Banai”.

The process of making a Veena is a highly skilled and labour-intensive process, which typically takes several weeks or even months to complete. Each Veena is unique and reflects the skill and artistry of the maker.

In modern days, Veenas are made from a variety of materials like teak wood, rosewood, and also synthetic materials like fibreglass. These materials are used to make Veenas that are more affordable and easier to maintain.

SEVERAL TYPES OF VEENA

There are several types of Veena that are played in different regions of India, each with its own distinct characteristics and playing techniques. Some of the most well-known types of Veena include:

• Saraswati Veena: This is the most widely recognized form of Veena and is played in North India. It has a long neck with 24 frets and typically has seven main strings and three drone strings. It is known for its melodious and soothing sound.
• Been: A type of Veena that is used in the Dhrupad style of music. It has a deep and resonant soundand is known for its intricate playing technique.
• Yaktaro: This is a type of Veena that is used in the Haveli Sangeet style of music. It has a bright and lively soundand is known for its fast and intricate playing technique.

• Chitraveena: This is a type of Veena that is played in South India. It has a unique design, with the strings stretched over a curved bridge, and is known for its fast and intricate playing technique.
• Harp-veena: This is a type of Veena that is played in South India. It has a unique design, with the strings stretched over a curved bridge and it is known for its fast and intricate playing technique.

Each type of Veena has its own distinct characteristics and playing techniques and is used in different styles of music. Some Veena players specialize in one particular type of Veena, while others are proficient in playing multiple types.

FEATURES OF VEENA

The features of a Veena vary depending on the type of Veena being played. However, some of the common features of a Veena include:

• Long Neck: A Veena typically has a long neck with frets, which are used to produce different pitches. The number of frets can vary depending on the type of Veena, with some having as few as 12 frets, and others having as many as 24 frets.
• Main Strings: The main strings of a Veena are played with a slide, or mizrab, on the right hand. These strings are stretched over the frets and are tuned to the appropriate pitch. The number of main strings can vary depending on the type of Veena, with some having as few as 4 strings, and others having as many as 7 strings.
• Drone Strings: Drone strings are stretched along the side of the neck and are tuned to specific notes. These strings provide a constant accompaniment to the main strings and are played with the left hand.
• Body: The body of a Veena is typically made from a single piece of wood, and is designed to enhance the resonance of the instruments.
• Pegs: The Veena has tuning pegs that are used to tune the strings to the appropriate pitch. These pegs are typically made from wood or metal and are located at the top of the neck.
• Mizrab or Mezhar: A mizrab, also known as a mezhar, is a small plectrum worn on the index finger of the right hand used to pluck the strings.
• Decorative Inlays: Many Veenas are decorated with intricate carvings and inlaid with precious stones, such as pearls and rubies, to enhance their beauty.
• Synthetic materials: In modern days, Veenas are also made from synthetic materials like fiberglass and plastic, which are more affordable and easier to maintain than traditional wood veenas.

LIST OF FAMOUS MUSICIAN OF VEENA 

There is many talented musicians who have gained fame and recognition for their skill and mastery of the Veena. Here is a list of a few famous Veena players from India:

• Emani Sankara Sastry: He was a renowned musician who was known for his exceptional skill in playing the Rudra Veena. He was also a teacher and was instrumental in popularizing the Rudra Veena in the 20th century.
• S. Balachander: He was a famous Veena player and teacher who was known for his exceptional skill in playing the Saraswati Veena. He was also a versatile musician who was proficient in playing several other instruments as well.

• Dr. M. Balamuralikrishna: He was a renowned Veena player, singer, and composer, who was known for his exceptional skill in playing the Saraswati Veena. He was also a versatile musician who was proficient in playing several other instruments as well.
• R. K. Srikantan: He was a famous musician and Veena player who was known for his exceptional skill in playing the Rudra Veena. He was also a versatile musician who was proficient in playing several other instruments as well.
• L. Subramaniam: He is a renowned Veena player and violinist who is known for his exceptional skill in playing the Saraswati Veena. He is also a versatile musician who is proficient in playing several other instruments as well.

These are just a few examples of famous Veena players from India. There are many other talented musicians who have made significant contributions to the world of Indian classical music and the veena.

CURRENT SCENARIO

The current scenario of the Veena in India is that it is considered as a traditional and classical instrument. It is still played and appreciated by a niche audience. However, it is not as popular as other instruments such as the guitar or the piano, and it is not as widely taught in music schools and academies.

Despite this, there are still many talented Veena players and teachers who are keeping the tradition alive and promoting the instrument to a new generation of musicians. Many music schools and academies across India offer Veena classes, and there are also many music festivals and competitions that feature Veena performances.

In addition, many musicians are experimenting with the Veena and incorporating it into different genres of music, such as fusion and film music, to make it more accessible to a wider audience.

In recent years, there is a growing interest in Veena among the younger generation. This is largely due to the efforts of various organizations and individuals who are promoting Indian classical music and the Veena through workshops, performances, and other initiatives. The use of technology such as the internet and social media has also helped to raise awareness and interest in Veena among a wider audience.

Overall, the current scenario of the Veena in India is that it is a traditional and classical instrument that is still played and appreciated by a niche audience, but efforts are being made to promote and make it more accessible to a wider audience.

In conclusion, the Veena is a traditional and classical Indian instrument that has a rich history and cultural significance. It is still played and appreciated by a niche audience, but efforts are being made to promote and make it more accessible to a wider audience. The Veena is not as popular as other instruments such as the guitar or piano, but it still has a dedicated following of musicians, teachers, and enthusiasts who are keeping the tradition alive. With the growing interest among the younger generation and the use of technology, the future of Veena looks promising.

Shweta Toppo

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Veena: A quick guide to learn Veena Indian Musical Instrument

The classical Indian Veena exists from the age of Rigveda. There are many historical pieces of evidence that prove Veena to be a celestial music instrument. According to Hindu mythology, The goddess Saraswati holds veena in her hands. Veena possesses a lot of constructional similarities to the human body and therefore, is also a scientific matter of interest. As Veena has so many marvellous features, it is very important to learn about its history as well, in order to learn, ”How to play the Veena”? To learn Veena , we are going to go through some of the important details related to the history and construction of veena. We will also learn a bit about playing the Veena. Let us proceed further.

Mythological importance of Indian Veena

Constructional similarities between the veena and the human body, learn the construction of veena, types of veena, playing a veena, therapeutical effects of learning veena.

According to the Indian Vedic Literature, Veena is one of the three principal music instruments along with the Flute and the Mridanga. Veena is also known as the Queen of the Indian musical instruments. There are several Mythological pieces of evidence showing pictures of Hindu gods and goddesses with Veena in their hands. The goddess of learning , the Saraswati is considered to be the one holding the Veena. Indian mythological literature states that playing the Veena is one of the ways to attain salvation. In fact, it states that playing the Veena is one of the easiest yoga to attain salvation.

As per the Indian Vedic literature, Veena is of two types :

• Deiveeka Veena
• Maanushi Veena

The god created Deiveeka Veena, that is the human body whereas the human-made Veena out of wood , known as Maanushi Veena. There are so many similarities between the organization of the human body and the Veena. Some of them are as follows-

Veena also has a head just like the human body. It is called Kudam. The four strings of the Veena spiritually represent the four Indian Vedas.

• The Backbone

Just as the human body has a vertebral backbone consisting of 24 segments, Veena also has 24 frets. According to the Indian Vedic literature, the 7 cervical vertebrae represent 7 strings of Veena. The 12 Thoracic vertebrae represent the 12 Swara than of the Veena. The 5 Lumbar vertebrae represent the 5 notes R, G, M, D, and N.

Veena is played by both hands. The two hands represent Mind and Intellect.

The classical Indian Veena has a length of about 1 to 1.2 meters. The body is made from hardwood and is hollow from the inside. Almost every design of Veena has 4 melody strings, 3 drone strings, and 24 frets. There are traditional Hindu designs and colours on the external surface of the Veena.

The ancient Indian Veena was more like a Harp instrument. There are various types of Veena that have been mentioned in the Indian Vedic literature. Some important types of Veena are as follows-

Rudra Veena

According to Hindu mythology, Rudra veena has close associations with Lord Shiva. It has two large and equal size resonators. While playing Rudra Veena, one needs to keep it in a slanted position such as one gourd on a knee and then another above the shoulder.

Saraswati Veena

Saraswati Veena is the form of Veena that is most familiarly mentioned in Hindu Vedic pieces of literature. The Saraswati Veena has its origin somewhere in South India. It is different from the Rudra Veena as it has two resonators of different sizes. As the name suggests, Sarswati Veena is the instrument of the goddess of learning, the Saraswati.

Vichitra Veena

This form of Veena differs from other forms as it doesn’t have those 24 frets. Due to the absence of frets, it sounds very much like a humming human singer. It uses a slide to choose notes unlike other forms of Veena that use frets.

To play the Veena, the musician has to pluck the melody strings downwards using his two fingers, the first and the second. The musician has to strum the drone strings with the help of the little finger of his playing hand. When desired, the resonating strings can be stopped with the free hand. According to the Hindu mythological fiction , playing the Veena leads to salvation.

In many parts of India, people believe there are many therapeutical effects of playing and listening to the divine music of the celestial musical instrument , the Veena. In South Indian communities, people believe that for pregnant women, it’s clinically beneficial to listen to the divine melodies of Saraswati Veena. They believe that by listening to the music of Veena, the baby in the womb first develops the hearing senses.

There are even some scientific researches that claim the therapeutical effects of the Veena. Raga YAmunakalyani stimulates the energy centres of the human body. Listening to this raga helps in the positive growth of the baby in the womb.

As per the Hindu Vedic pieces of literature, The vibrations of some specific notes activate chakras in the body. The chakras help in healing the diseased organ site in the body by having a positive effect on specific nerves.

The classical Indian Veena is of great historical, medical, spiritual, and scientific importance as well. As per the Hindu mythological literature that playing the Veena leads to the attainment of salvation. As per the Vedas, playing the Veena is the easiest yoga to achieve salvation. Veena has so many constructional similarities with the human body. Playing the Veena with complete devotion helps one to achieve mental peace and physical growth as well.

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Type: TAT VADYA

Veena is a stringed instrument made of jackwood and metal. This is a traditional instrument that is found in various parts of South India. It is considered to be a principal plucked instrument of Carnatic music of the lute category.

VEENA in South India

Material: Jack wood, metal

A principal plucked instrument of carnatic music of the lute category. Made of Jackwood. Deep and round resonator, flat face fingerboard scooped out from the same log of wood and called ‘Ek Dandi Veena’. The decorative peg box is carved in the shape of a snake called ‘Vyali’. Four main metal strings and three drone strings. Two bridges – one main and one secondary. Twenty four metal frets, fitted on the fingerboard by means of wax. A popular instrument of South Indian classical music.

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Veena and Other Ancient Musical Instruments of India

Tanpura (Tambura)

Construction.

• The Miraj style tanpura , usually used in Hindustani music, is about 3 to 5 feet long, with a carved resonator and a hollow straight neck. Its base is slightly flat, which helps it sit upright without support.
• The Tanjavur style tambura , which is usually used in Carnatic music, looks somewhat different from its North Indian counterpart. It uses no gourd and the spherical part is gouged out from a piece of seasoned wood. The neck is somewhat smaller and the base is usually more rounded, necessitating the musician to give it support at all times.
• Tanpuris are small-scale tanpuras, which are used to accompany instrumental soloists. Normally about 2-3 feet long, they look slightly flatter and can have 4-6 strings.
• Today, electronic tanpuras are very popular among musicians and students alike. They are light, box-shaped and extremely portable; and most importantly, closely imitate the sound of the actual tanpura. Needless to say, most purists scoff at electronic tanpuras, accusing them of having no artistic or acoustic value whatsoever.

Saraswati Veena

History of the veena.

Method of Playing

Religious and mythological tales associated with veena.

• The Veena enjoys much significance in Hinduism ; in religious, mythological and spiritual terms as well. Goddess Saraswati is almost always depicted holding the Veena. Incidentally, the instrument that she plays is referred to as the Kacchapi Veena.

• Sage Narada , who was known to be a maestro of the Veena, always carried around his own Veena, known as Mahati.
• Besides, the Ramayana and the Mahabharata, the Vedas and the Puranas, all speak of the greatness of the Veena. This instrument features in several works of early Tamil literature as well. In the Sangita Ratnakara, Sarangadeva says that this instrument eradicates all evil and bestows purity and good on the vainika. It is additionally believed to bestow great good on people just listening or touching the Veena.
• Legend has it that sages such as Agastya and, more recently, Sri Raghavendra Swami of Mantralaya and Paramacharya Jagadguru Sri Chandrasekharendra Saraswati of the Kanchi Kamakoti Peetham, were adept at playing the Veena.
• Various Gods and Goddesses are said to be residing in the different parts of the Veena. Lord Shiva resides in the body, while Parvati is in the strings. Vishnu lives in the bridge, while his consort, Lakshmi , resides in the main resonator. Brahma resides within the secondary kudam, Saraswati in the nabhi (center of the board which gives out maximum sound), Vasuki in the pegs and Surya ( Sun God ) in the Jeevala. Thus, playing this instrument is believed to invoke all these Devas and Devis.
• Sage Yagnavalkya states, "One who is adept at playing the Veena, with proper control of Sruti (pitch) and Jaati (melody) and has good knowledge of Sound and Rhythm, attains Moksha (liberation) without effort.

Ravana and the Veena

Spiritual Connection with Gross and Subtle Human Body

My own experience with the veena, notable players, sitar decoration styles.

Notable Artists

This article was written by: Priya Viswanathan , a teacher/performer of Bharata Natyam, Classical Music and Classical Instrumental Veena. A recipient of several awards for both music and dance, Priya is also a freelance writer online. She currently writes for About.com, a subsidiary of the New York Times Company ( http://mobiledevices.about.com )

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Introduction

The Indian Veena has always been considered as an instrument of the Gods and hence the name ‘Divine instrument’ has been attributed to it. From the earliest times, the Veena has been a guiding star for the development of Indian Music in general. But Carnatic music cherished the Veena and the Yazh as gifts of the gods and through centuries of study and experiment, coaxed out of them a system of music that has no parallel in the whole world.

Veena is the favourite instrument of several important deities including Saraswathi, the goddess of arts and learning. The Veena handled by Goddess Saraswathi is known as ‘Kachchapi’. In the sloka ‘Vipanchya gãyanthi’ in Soundarya lahari, Jagadhguru Adi Shankaracharya portrays a beautiful scene in which Saraswathi plays the ‘Vipanchi’. Saraswathi is the goddess of all muses and is the Veena pustakadhaarini – one who holds the divine source of sound and wisdom. No picture, icon or poem of her or about her is therefore complete without the Veena and the pustaka (book).

Not only goddess Saraswathi, but goddess Parãshakthi also has a Veena in her hand. This is described by kãlidasa in the ‘Navarathnamala Sthothra’. He says that the goddess Parãshakthi plays the Veena with her fingertips and glows in the musical splendour created by the chaathurya of Saptha swaras. ‘sarigamapadani rathaan thaam veena sankratha kaantha hasthaan thaam’.

Mãthangi Devi, the goddess of Music is always depicted as holding a Veena in her hands. ‘Veena sankranta charu hastaa’. Goddess RajaMãthangi is the most important deity for Veena. She has to be worshipped fervently to understand the divine nuances of Veena. The ‘Mãthangi Shatkam’ is full of references to the Veena and we get phrases like ‘Veena Vadanavela Kampita siva sam’, ‘Veena rasanushangam’ and ‘Vama kucha nihita Veenam’. The sloka ‘Mãnikya Veenam upalalayantim’ is found as the last sloka of the ‘Mãthangi shatkam’ and the first sloka of the ‘Shyamala Dandakam’.

Lord Shiva is also depicted as being fond of Veena music. Saint Thyagaraja describes him as ‘Veena Vadhana loludu’ in his krithi ‘Mokshamugaladha’ in the Raga Sãramathi. ‘Veena Vãdhana loludou sivamano vidhamerugaru’. In this context, Shiva is known as ‘Veenadhara Dakshinamoorthy’. He is frequently depicted as holding a fretless Veena with a single gourd resting on his chest and teaching the wise ones like Sanaka. It is no wonder that the Veena is held in the hands of Lord Dakshinamoorthy, the god who confers pure Gnana or knowledge to release the soul from its bondage.

In Pallava or Chola temples of the South, Lord Dhakshinamoorthy is worshipped with a Veena in his hands. Lord Shiva was known as ‘Veena gãnapriya’, that is, as one who enjoys Veena music. Appar (one of the legendary Tamil poets and scholars) has also mentioned that Lord Siva himself is adept at the instrument in one of his poems. (‘Em Irai nal Veenai vasikkumme’). In ‘Thiruvilayadal Puranam’ Lord Shiva takes the form of a woodcutter and plays the Yãzh for the sake of his disciple, Panipataran. The lord stated that Yãzh or Veena is an instrument bubbling with life because ‘kuril’ and ‘Nedil’, that is, the musical dynamics (short and long) can be played on it with ease and without interruption.

Liberation is difficult for people who do not understand the mind of Lord Shiva, who enjoys playing his Veena in tune to the universal Naada. Attuning oneself to the divine mind of Shiva is Moksha itself. Lord Dhakshinamoorthy, therefore, conveys such ultimate Gnana through Veena.

Apart from Gods, many sages are depicted as Veena players, the most notable being the divine sage Narada. His Veena is known as ‘Mahathi’ and it was his inseparable companion. Thyagaraja describes this beautifully in his Krithi ‘Sri Narada’ (Kaanada) as ‘Veda Janitha Vara Veena Vaadhana Thathvajna’, meaning, Narada is one who knows the mysteries of ‘Veena Vaadhana’. The great sage, Narada did Nadopasana by tuning his consciousness to Veena.

Legends have it that Sage Agastya was also a Veena exponent and once had a competition with Ravana in Veena, wherein Maha Meru stood in judgement. In ‘Lalitha Sahasranamam’, Lord Hayagreeva refers to the Veena in Sloka 11, by saying “Nijasallaba mathurya vinirbarthsitha kachchapee”.

The saint of recent times Sri Raghavendra swami of Mantralaya was engaged in the contemplation of his soul while playing divine music on his Veena. He was an unparalleled exponent of the Veena. There is a story that he sang his own Bhairavi composition “Indhu enake Govinda”, playing Veena, just before entering Brindavana, for which song, his Golden Santhana Gopala Moorthi Vigraha came alive and danced, in full public view. And this did not happen in some ancient puranic time, but just about 300 years ago (1671 A.D).

Paramacharya Jagadguru Sri.Chandrasekharendra Saraswathi of Kanchi Kamakoti Peetam has stated in his ‘Deivathin kural’ that japam, dhyanam, puja and other rituals are not necessary for a real Veena artiste to achieve divine glory.

In ‘Sangita Rathnakara’, Sarangadeva says ‘Veena is an instrument that eradicates all evils and sins and bestows all good things in life.’

“Darshnasparshanechaasya Bhogaswargaapavargadhe Puneetho Viprahathyaadhi Paathakaihpathitham janam Dandahshambhurumaa Thanthree kakubhah kamalapathihi Indiraapathrikaa Brahma Thumbu Naabhih saraswathee Dorako Vaasukeerjeeva Sudhamshuh Saarika Ravihi Sarvadevamayee thasmaath Veeneeyam Sarvamangalaa”.

The meaning is like this: Even if one sees or touches the Veena it bestows comfort both during and after one’s lifetime. It cleanses and purifies all sins and evils of not only the downtrodden but also of those who have committed heinous crimes. The Author further attributes different Gods to the different parts of the Veena. Lord Siva in the body, Parvathi in the strings, Vishnu in the bridge, Lakshmi in the Main resonator, Brahma in the secondary resonator, Saraswathi in the naabhi (center part of the chest board which resonates the sound), Vasuki the serpent king in the pegs, Moon in the Jeevala (the cotton thread pieces used between the string and the bridge) and Sun God in the frets, and thus all Gods are invoked in the Veena, and hence it is indeed a very auspicious instrument.

The following are the names of some of the Veenas believed to have been played by celestial beings from ancient Vedic times.

• Lord Shiva – Rudra Veena
• Lord Brahma – Brahma Veena
• Goddess Saraswathi – Kachchapi Veena
• Nãrada – Mahathi Veena
• Rãvana – Rãvana Veena or Rãvana Hastha
• Raja Udayana – Ghoshavathee Veena (Mentioned in the ‘Swapnavasavadatta’ of the great poet Bhaasa)

Significance of Veena strings

According to the Vedas, a Veena player is said to be a master of Sruthis. It is not enough if one knows merely to play the Veena. He/she should know the secrets of the instrument and how it responds to a devoted votary. It can even make him reach Moksha or final beatitude according to the sloka from the Yajnavalkya sruthi:

“Veena Vaadhana tathwagjna suthi jaathi visharadhaha thaalagjnanascha aprayaasena Moksha margam sa gachchathi”.

One, who knows the mysteries of playing the Veena and is adept in Sruthi and jãthi and has a sound knowledge of Tala, effortlessly finds himself on the way to Moksha.

The Buddha reinforced his teachings with music from his Veena known as Parivadhini. It had twenty-one strings made of gold (Swarna Sutra). Yedathore Subbaraya Sharma had written and published a book in kannada ‘Sandhyavandaneya Thathvartha Vedaprakaashike’ (Veena Rahasya) in the year 1936. Here are some excerpts from that book along with some sketches. “Veena has twenty four frets, four strings along the frets and three strings at the side. The above four strings depict the four Vedas, namely Sãrini which signifies Rig Veda, Panchama which signifies Yajur Veda, Mandra which signifies Sãma Veda and Anumandra which signifies Atharvana Veda. All the four strings are said to have Sudha Sathvaguna.”

This first string Sãrini signifies ‘Gnanashakthi’, the second string Panchama signifies ‘Kriyashakthi’, the third string Mandhara signifies ‘Ichchashakthi’ and the fourth string called Anumandhara also signifies ‘Ichchashakthi’. “The importance of the twenty four frets comes from the sound (Naada) produced from them and not merely by the physical presence of the inanimate metal frets. Hence the twenty-four places (frets) of different pitches of sound (Naada) covering the two octaves depict the ‘Gaayathri mantra’ with twenty-four letters. “Thath savithur Vareniyam Bhargo Devasya Dheemahi dhiyo yo nah prachodayaath”.

Now, the significance for the three Tala strings: Naada has got the three aspects of srishti, sthithi and Laya (creation, protection and destruction) just as the universe has these three aspects.” The three Tala strings symbolize these three universal actions.

The Veena has also been compared to the human body. The spinal chord in the human body is held through out the length of the body right from the anus point to the top of the head (Brain) called Brahmarandhra. It is divided into 24 vertebrae as the twenty-four frets of the Veena.

According to science the human anatomy has seven cervical, twelve thoracic and five lumbar vertebrae in the spinal chord from top to Bottom. The distances between the frets commencing from the Vyala side are wider and become narrower towards the Tara Sthayi. In the same way, the vertebrae are thicker at the anus side and become smaller and thinner towards the Brahmarandhra. Mandra Sthayi Swara emerges at the lower end of the body and as the pitch is increased it reaches the Brahmarandhra which is called the sahasraara kamala, a place where the Jeevala of music is found. Naada is produced by the clash of wind and fire (Praanagni samyoga). It starts at the lowest pitch at the Mooladhara chakra (that is, near the hipbone of the body) and the pitch goes on increasing as it moves up towards the other six charkas namely swadhistaana chakra, Manipoorachakra, Anaahatha chakra, Vishuddha chakra, Aajna chakra and sahasraara Kamala culminating in Omkaara.

The music gushes forth in the Merusthan (bridge) and consequently, the Prana floating and touching the Mooladhara lingers at a particular distance and only from this point, the music originates in a human body. The phenomenon of music originating from Prana is described in Silappadikaram. More so, in the famous Krithi, ‘Shobillu sapthaswara’ of the great saint Thyagaraja.

The center of the human body is prescribed as the place two inches above the Mooladhara. The Veena resembles the human body both in the sthoola form and in the subtle Naada form. The Prana in human body flows in the upper six and lower six, that is, in twelve sthanas (regions) and creates breath. Similarly, the Naada in Veena flows in the upper six and lower six sthanas and produces raga Moorchanas.

The human body is divided into Moolasthanas, Swargam, Martyam and Patalam. Similarly in the Veena, there are three Sthayis (ranges or octaves)- Mandhara, Madhya and Tara. All these similarities created by god are striking evidences that Veena is a divine instrument to be used by human beings for the liberation of soul and to detach oneself from the unending cycle of births and deaths.

It is said that the Veena Naada kindles the fire in Kundalini that lies curled in the Mooladhara, the lowest of the six nerve centers in the spinal column. The Vibrations that are set in motion by the body heat and the life breath (Anala and Prana) gathers momentum as they travel up the spinal chord. Eventually, they release extraordinary powers of concentration and meditation leading to cosmic consciousness. Nãdopasana(worship through music), in fact, is a less arduous path than the three well-known paths of Salvation, namely, Karma, Bhakthi and Gnana margas.

Mention in history

There are numerous poetic descriptions of the Veena in all our literatures. In the Rãmayana, Hanuman visits the seraglio of Ravana in his search for Seetha. There, at midnight, he sees many musicians asleep. The poet likens one of the women Veena players embracing her instrument to a cluster of lotus stalks clinging to a boat in a river. We are told that the Rãmayana was sung (not recited) by Sri Lava and Sri Kucha, sons of Rãma. They are said to have played the Veena and sung along with it.

The symbol on Rãvana’s flag was the Veena. He was also famous as an extraordinary exponent of this instrument. As far as Mahabaratha goes, we find that Arjuna – one of the five Pãndava princes taught the Virat princess the Veena. The Veena is described as ‘Saptatantri Pratitha’ meaning that it was a seven stringed one, ‘Saptha’ meaning seven. Then, there is the famous story of prince Udayana who charmed princess Vasavadatta by the music of his Veena. The legend goes that he also charmed a wild elephant in the course of his wanderings by his prowess on the instrument. Lately, of course, Bharathiyar has sung “Nalladoor veenai sayde” and also when he sang in praise of Saraswathi, he wrote “Vellai thaamarai poovil iruppãl – veenai seyyum oliyil iruppãl”.

An incident that happened in as recent as the beginning of 19th century proves how much of a divine sanction Veena has. Muthuswami Dikshitar of the music Trinity, on completion of his training with Chidambaranatha Yogi, was told to go and pray in Ganges and ask for what he wished. When Dikshitar did the same, wishing for a Veena, a celestial Veena descended on his hands from nowhere! The said Veena, which was unique with the Yãli turned upwards and the words Shri Rãm in Sanskrit inscribed, is still available with the family descendants of Dikshitar. Hence, not surprisingly, many of the Dikshitar’s compositions have references to Veena. Notable among them are:

• ‘Daasarathe’ in Sankarabaranam (western note style), wherein he refer to Rãma as enjoying Narada’s Veena gãna,
• ‘Bhãrathi’ in Devamanohari, a song on Saraswathi of Tiruvaroor,
• ‘Mãmava Meenakshi’ in Varali
• ‘Meenakshi Memudham dehi’ in purvikalyani and many more krithis

The ancient treatises promise the four purusharthas for the Veena player:

• Dharma – In return for offering Veena Music during sacrifices like Ashwamedha and Rajasoorya, the Veena player gets to do a lot of Dharma.
• Artha – By playing Veena, the player earns a lot of wealth.
• Kãma – His lust is satiatated with the women who fall for his music.
• Moksha – As per yagnavalkya’s declaration. (Playing Veena is the easiest path to Moksha)

As mentioned earlier, Veena is a very ancient instrument dating back to the Vedic times. This instrument is in the hands of Saraswathi, the consort of our creator, who therefore is our mother. While the Vedas, the storehouse of our knowledge have come out of the different faces of Brahma, the creator, all emotion, feelings, experiences called the rasas have emanated from this instrument in the hands of goddess Saraswathi. This instrument is therefore of divine origin and fills our emotional lives. If our emotions are noble and sathvic in nature, they find expression in music played particularly on the Veena.

In Hindu astronomy, Tula Rasi, (Libra in Western Zodiac system) contains the star Swathi. This constellation is also described as Alpha Cygnus indicating Hamsa (swan), which is the seat of Saraswathi. The constellation’s name Swathi forms the major part of the Goddess’s name Saraswathi, as Saraswathi means white swan. Swathi also indicates Swetha (White colour) and according to our ancient scriptures, the goddess is always adorned in white garments. Venus, the lord of Libra or Tula rasi is again astrologically indicated through the white colour. Also, this constellation, Swathi presents the picture of a lyre or Veena. Many decades ago scientists and philosophers discovered a cosmic hiss emanating from this constellation. This is the Naada, the musical resonance that pervades the universe. It pervades the human body also, only to be discovered by one within oneself. This Naada is the mother of all ragas, which are expressions of emotions. Naada in all ragas therefore is like gold in all ornaments.

The instrument Veena, finds description in Vedic literature as well as epic literature. “Atha khalviyam deivi Veena bhavati tadanukriti rasau maanushi Veena bhavathi”. The above quote is from ‘Aithreya Brahmana’. It says that Veenas are of two kinds. Deivi Veena (Divine) and Maanushi Veena (Human). The human body created by god is the Deivi Veena. The Veena made out of wood by the human being is the Maanushi Veena.

The divine Veena obviously expresses the emotions of the immortals in the higher worlds. The human Veena expresses the emotions of the mortals. The human body is also known as ‘Gaathra Veena’. Gaathra means human body and not human voice. The Veena played by the humans is known as Dharu Veena (Wood Veena).

A sloka in Sãma Veda says “daaruvee gaatra Veena satve Veena ga na jaatishu Saamikee gaatra Veena tu srutyai lakshnam”, meaning, the body known as Gaathra Veena and the Veena made of tree known as ‘Dharu’ Veena are meant for divine music. Veena playing as a highest form of yoga brings about the merging of Jeevathma and Paramathma only when the Veena player handles the Veena through the sheer force and power of his Praana or Kundalini Shakthi arising from the Mooladhara and not merely by moving his fingers across the frets and strings. The Naada of the Veena and the Kundalini Prana of the Veena player enter together like passionate lovers seeking union to become one. As they unite, they take shape of the finest thread and make contact with the finger tips of the Veena player that are already moving across the frets and strings of the Veena. Now, the Veena player is a full-fledged Yogi, rendering divine music on the Veena and in Kumbhakam (neither inhaling nor exhaling- in other words, retention of breath) without effort or consciousness. If the artiste is able to develop and improvise along these lines, at some point, it will become possible for him to have the vision of god and to merge with him.

The yogis who practiced Vasi Yoga played the Yazh or Veena when heat was generated due to Yoga saadhana. The right kind of raga on the Veena can create the Saathvic and noble rasa and Bhãva in human beings. The human being needs to be elevated from the mundane materialistic and ignoble thoughts and feelings of his material life to noble and Sathvic feelings and consciousness. The Naada of the Veena is much more perfect than the human voice itself, capable of creating Saathvic peace in the human heart and elevate him to super human or divine plane of consciousness.

The Veena, perhaps the most complete musical instrument, figures in the ‘Daya satakam’ in a beautiful sloka that is as follows. ‘Vedantha desika pade vinivesya balam devo daya shatakam etat avadayan mam Vaiharikena vidhina samaye griheetham Veena visesham iva Venkata sailanatha’ says swami Desikan. “I am but a child, in age, knowledge and devotion. The lord, as part of his deeds, placed me on the high pedestal of Vedanthacharya, (master of Vedãntha). Not content with that, he created a beautiful sthotram too, using me as an instrument. He has put me in the place of a high quality Veena, which produces melodies that gladdens the heart and uplifts the soul. Even though I am, by myself, (like the Veena), incapable of composing a sthotram, the lord (like an expert musician who can produce soul stirring music from the most ineffective of instruments), has composed this excellent poetical work of Daya Satakam using me as but an instrument.”

What we have seen are but a few glimpses on divine references of this ancient musical instrument, which is a precious part of the priceless heritage of India. Veena is the only instrument prescribed by the divine scriptures as an instrument containing many universal code secrets to help reveal the ultimate truth to human beings. That is why Veena has this exalted status in Carnatic Music.

VEENA - A Musical Instrument with a difference!

Music has become an inseparable part of our daily lives. It feels that in today’s world, there is no person who doesn't listen to music. In today’s world people have become more inclined towards new genres of music and have forgotten about the genre of classical music. So now let's flip back in the lane of origin of classical music and some more aspects that come in connection with music.

When we talk about classical music, the blur image of various musical instruments comes up in our minds and we go back to that era where people used to sit as a group and play various instruments and use vocals to enhance the flow of music. Today in this blog we shall try to read more about classical music and instruments associated with it.

When we talk about classical music, Veena has always been an inseparable part of it! Veena which is also spelt as Vina is a classical musical instrument which has been an inseparable part of the Indian Subcontinent. Various regions in the Indian Subcontinent call it by various names such as Rudra Veena, Saraswati Veena, Vichitra Veena and others. Veena is structured in a beautiful way with a height of 3.5 to 4 feet which has a hollow body with 2 large resonating gourds at the bottom. The veena has about 4 strings which are melodious and 3 auxiliary drone strings which when played with your fingers produces beautiful melodies.

Veena has various types. The major ones are the Rudra Veena, The Saraswati Veena, Vichitra Veena, Sitar, Bobbili Veena, Chitra Veena, Pinaki Veena and others. These Veenas have different designs and different ways to play and produce melodious tunes.

The term “VEENA” has been derived from the Sanskrit word “VANA”. In Sanskrit, the term “VANA” generally refers to a plucked string musical instrument. The term Veena is also mentioned in the Rigveda, Samveda and other Vedic literature such as the Shatapatha Brahmana and Taittiriya Samhita. A person who plays the Veena is known as a “VAINIKA”

People today get confused between the Sitar, the Veena and the Tanpura. People feel it is the same but no! Here’s the catch. All the three differ from each other in various ways. How? Well, let's find out.

When we talk about the Sitar, it belongs to the music family of “LUTE”. The Lute family comprises the plucked strings musical instruments. The Lute family has musical instruments like the sitar, bass guitar, banjo,mandolin and others. Sitar is mostly a part of Indian and Carnatic Classical Music. The term sitar has originated from two terms. The first term is the Persian word “SEHTAR” which means “three strings”. The second term is the Hindi term “SAT-TAR” which means “seven strings”.

The Veena: 

When we talk about the Veena, it belongs to the Indian Classical Music. It has 2 basic types which are used in 2 different sects of music. The Rudra Veena which belongs to the ZITHER family is mostly played in Hindustani Classical Music. The Saraswati Veena that belongs to the LUTE family is mostly used in Carnatic Music.

The Tanpura:

The name of the Tanpura is derived from the term “TANA” meaning a musical phrase and pure meaning full or complete. It is also referred to as “TAMBURA”. It doesn't have an independent melody. This means that its music is also backed by the vocals of a singer to produce impactful melodies.

So, here we come to the conclusion that the Veena just is not a musical instrument but an instrument with a vast ancient history!

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