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The Saraswati Veena
Ravikiran
and the Chitravina at the Cleveland Aradhana 2002
This section complements the audio interview and
essay. Return to Shrikanth
Chary & Co at the Cleveland Aradhana 2002.
Top - This is the Chitravina or Gotuvadhyam in its natural playing
position. This primary difference compared to the Saraswati veena is
the lack of frets. The melody is generated using a slide (not
shown). There are more main strings - thus the additional large tuners.
The twelve smaller tuners control the pitch of the sympathetic strings.
Top - Ravikiran's grandfather also
changed the string settings. Since the base tonic string is hardly
used, he eliminated it. In order to produce more volume,
a second string is tuned to the same pitch. In addition, a bass
string is paired up, that the performer can use (at the opportune moment)
to greater a more deeper timbre. The little finger's nail is clearly
visible here. The second bridge below and behind the main bridge
supports the sympathetic strings that tuned to the notes of the scale
being performed. However, since it is common to perform several
composition in a carnatic music concert, tuning to the natural
scale of Shankarabharanam (Bilawal - every major note) is common.
Top - Ravikiran, the most renowned exponent of the instrument. The
amplifier in the background is connected to the black pickup seen
earlier. Ravikiran transitioned from a natural sound to an
electronic sounding one. The trade-off was to increase the sustain
of the instrument and make it sound more gayaki (vocal). To
get an idea of what the instrument's natural sound is, Ravikiran's two recordings on the Chandradhara label are highly recommended.
Continue to Jayanthi
and her instrument in concert at the Cleveland Aradhana 2002.
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