Music Projects

 

Membranous Percussion Instruments (Avanaddh) - These are instruments that produce sound with strike-able membranes, mostly of weathered leather. Tabla, Dholak, Dhol, Daff, Damroo, Mridangam, Nagada, Pakhawaj, Khol (Mridangam), Nal (Dholki) etc. are examples of Membranous Percussion Instruments. Membranous Percussion Instruments (Avanddha)   Chameli  This instrument is Indian equivalent of the African instrument Djembe. It has membrane on only one side and has a typical torch shaped body. It is used for accompanying certain folk dances.

Dholak Dholak is a two sided barrel shaped North Indian instrument with a thin leather membrane on right side and a thicker leather membrane with special clay mix applied on the inside of left side. This allows the instrument to produce heavier bass beats from left hand and shriller treble beats from right hand. Traditionally the tuning of the instrument is adjusted with cross winding ropes but contemporary versions also have metal turnbuckles for tuning. Dholak is an indispensable instrument for light music and is used amply in Bhajans, Bollywood songs and Qawwalis.

Dhol

 

Dhol is a very popular two sided barrel or cylindrical shaped North Indian instrument very similar to Dholak but larger in size and differs from Dholak in that sides are struck with sticks rather than hands. Although Dhol is prevalent in most of East, West and North India, it is most commonly used in Punjab specially Bhangra dance. while performing the famous

Daff / Daflee Daff is an Indian flat drum with leather membrane on one side of a large wooden ring. It is used mostly in Folk music and frequently employed by Bollywood music directors. Daflee is a popular version of Daff  which has metal sounders at Perimeter of Daff.

Dumroo Dumroo is probably the oldest form of percussion instrument in India. It is the only remaining form of hourglass drums which are so commonly seen in ancient Indian statues. Its musical role is minimal and it is most commonly known for its association with Lord Shiva and monkey charmers. It is historically important in that it is considered the forefather of all two sided membranous instruments.

Mridangam

 

Mridangam is an indispensable South Indian percussion Instrument and holds same importance in Carnatic music as Tabla in Hindustani music. Its form is very close to Pakhawaj and differs in that the coating on left side is temporarily done with flour dough and has to be removed after each performance.

Pakhawaj Pakhawaj is said to be originated from Dumroo and is considered to be the oldest percussion instrument in India as far as musical relevance is concerned. It is also a two sided leather membrane instrument with special clay mix (Masala) applied to both sides for sweeter sounds. Its mode of playing is similar to Tabla, but in a Dholak like fashion. Pakhawaj is a North Indian Instrument.

 Tabla  Tabla is a pair of drums originated by dividing the Pakhawaj into two parts and closing the open ends. It is played in upright position with left hand playing the bass (Baya) and right playing the treble (Tabla). Both the drums have clay mix applied to them like Pakhawaj. Tabla is a North Indian Instrument.

Maddal

 

Maddal is a class of barrel shaped hand drums of the mridang class. Where other members of the mridang class tend to be used in classical music, the maddal tends to be used in folk music.  The construction of the maddal tends to be similar of the pakhawaj pakhawaj.. As in the pakhawaj and mridangam mridangam,, it invariably has a permanent application on the right right hand side. However, it is really diffi difficult cult to generalise about the applications, left sid side e application. Among type the folk maddals, one may find permanent dholka massala applications, or even temporary applications such as flour and water. One interesting characteristic of the maddal is the variety of sizes and shapes that one may find for the drum shell. Although they tend to be fairly consistent within certain geographical areas and a nd small ethnic groups, when viewed across the breadth of South Asia one finds a very great variation. It should be stressed that the maddal is not a single instrument but a class of related related folk drums. Specific exampl examples es include the jaspura (Northeast India), madar(central India), maddale madda le (Southwest India), mandar (Central and Northeast India), and the tumdah (Northeast India). One coul could d even argue th that at the pung and the khol kholcould could also be include in this classification. Mridangam

Mridangam is a South Indian version of the pakhawaj pakhawaj.. It bears a strong superficial resemblance to pakhawaj but there are major differences in construction construction and technique. The tone of the iinstrument nstrument is quite different. This is due to differences in construction.  The construction of the mr mridangam idangam is int interesting. eresting. It has heavy annular membrane around the right side, and a number of pieces of  straw which are placed radially between the annular membrane and the main membr membrane. ane. The application, known as soru or karanai. Theright left side side has use uses saapermanent mixture of applicati flour andon, water to

 

provide a proper tone. tone. This application must be removed after each performance. The lacing and heads are all placed upon a barr barrel el shaped wooden shell. The wood is usually of jackwood.    The instrument is usually tuned with a small wooden block and a heavy stone.  The block is placed against the rawhide weaving and struck with the stone. The manner of striking may either raise or lower the pitch. It is generally tuned to the tonic of the piece being performed.  The sitting and playing technique is  Temporary Application of  shown below. One sits Flour to Left Side cross legged with the left foot below and the right foot over and slightly extended.  The mridangam rests upon the right foot and ankle. Since the instrument is very heavy it is also cushioned by some rolled up cloth placed at the right right foot. The right hand plays the smaller head, while the left hand plays the head with the temporary application of flour.

 

   The mridangam is an indispensable component of  the south Indian classical performance .performances, In these the artist plays very intricate patterns to accompany south Indian vocalists, vina vina,, violin violin,, or gottuvadyam player Sitting and playing s. It is a very Position demanding art and requires many years to master.