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The Saraswati Veena
The Veena and Fingering techniques - more details
This section complements the audio interview and
essay.
Top
- Sreevidhya's
multi (three piece) veena. The fret-board and resonator are attached
by glue and nails. Note the white dots on the melam. Like the
guitar, this provides the player with cues on note positions. The dots
are marked on the Mayamalavagowla (Bhairav - flat second and flat sixth) scale.
Purandaradasa, who is credited with setting the "traditional"
lessons (salarivarsais, jantavarsais and alankaras), never mentioned
the scale that a student should start their training with. For some reason, Mayamalavagowla has become the first scale carnatic music
students learn. The intricate pen
work is in two colors. Most modern veenas do not have such detail
work, but the theme of flowers, vines, and leaves, is still in
vogue. As we will see later, the
number of colors have also increased. The art work is performed
after the plastic (perhaps it was bone/ivory earlier) is attached to the
wood using tiny nails - visible on this photo.
Top
- Three
points to note here. The joint between the fret board support and
resonator is more apparent here. Also the layers of the fret board are clearer. On the instrument
fret board base rests two more strips
of wood that bridge the fret board base and resonator. On top of this
is the later of bee wax (melam) supporting the brass frets. Also note the
layers on the bridge (left) - brass at the top, wood in the middle, and an
unknown material at the base. Most veena bridges have two layers, but the
glue layer is prominent in others.
Top - This
instrument belongs to Sreevidhya's son. Although a little big for
him, its early use will improve the timbre over time. The natural look
exposes the quality of the wood - and most veenas of this type seem to be
more lavishly decorated. Gods, goddesses, flowers, vines leaves, and
animals associated with music and art are the subject. Also note the
traditional design of the fine tuners. This is discussed in the conversation.
Top - The bottom and stem of the instrument are decorated as well. Notice
the traditional fine tuners vs. incorporating violin style tuners in the
photo on main page.
Top - The fret board. The taalam strings rest on three small
meta bridges (left), and roll around
the three gross tuners.
Top
- The
hole on top of the resonator to improve the timbre and volume of the
sound. This is discussed in the conversation.
Top - The older veenas used deer horn, instead of metal or wood, to support the taalam
strings. Notice the wear (shine) on the brass frets that Sreevidhya mentions in the conversation..
Top - Top of the yaali section. The bolt on the right is attached to the left
gourd. The plectrums find a rest home, close the strings they
pluck. The four main string gross tuning pegs.
Top - The protector
of the instrument? The dragon head is the most popular motif seen at the
end of Saraswati veenas. Most other similar instruments have swans
or peacock head carvings. I have not seen the dragon used in Indian
art and culture (social) often - so its presence on this instrument is a
bit surprising. It probably plays the role of the protector against
evil spirits - or just jealous veena players.
The neck is hollow, and
serves the vestigial function of providing storage space, using the latch
seen on the previous picture. This instrument seems to have lost the
top of the neck. The joint between the fret board base and yaali can
be seen, joined by the bone/plastic arc. The attachment of the metal
hat, of the gourd, to the fret board is clearly visible. Note the small hook on the
top right of the instrument. It locks the top cover in place.
It is unhooked to remove the top. This provides easier access to the
inside of the pegs to assist with replacing strings. The hinges on the other side
of the instrument (see below) help. The maker (or re-seller) of the
instrument makes intelligent use of the fiber glass "gourd" to
stamp their name.
Top - Right hand - used to support the instrument as well as strum.
Bottom - Normal two finger
(left) and the three
note tribinnam (listen to the demo) technique of the left (melodic)
hand.
Top
and Below - Beginners, pay heed to the finger positions of the two fingers on the left hand.
Sreevidhya describes the two common finger position. Both fingers
before one fret and two fingers behind adjacent or close frets (usually
when you play the frets producing higher pitches)..
Typical
early morning practice atmosphere - before sunrise. Sreevidhya
starts with traditional exercises in Mayamalavagowla, in
multiple speeds. The composition after the exercises
changes. Today it was the Shankarabharam varanam, Saamine.
Sreevidhya, at the end of the two hour session on the veena and morning
practice, still has the energy to smile from the relief.
Continue to Shrikanth Chary & Co's photos at the 2002
Cleveland Aradhana.
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