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The Saraswati Veena
S.
Seshadri & her veena the Cleveland Aradhana 2002
This section complements the audio interview and
essay. Return to Jayanthi
and her instrument in concert at the Cleveland Aradhana 2002.
Top - The veena is an integral part
of a dance orchestra - when the dancer can afford one. Mrs. Seshadri
was a part of the legendary Vaijayanthimala Bali's ensemble during her
2002 tour of the U.S.A.
Top & Bottom - This is instrument is a little
more ornate, like Shrikant Chary's veena. The container and its
cover on the floor, reveal two other important needs. The box
holds cotton soaked with oil and also doubles as a holder of the
plectrums. The oil is used on the finger tips of the left hand to reduce
friction between the fingers and frets. Coconut oil is the most
popular oil, but other non-sticky oils (Amla lite hair oil for example)
work equally well. The inside of the container cover has a
picture of the favorite muse, who provides inspiration to the artist - and
also protects them. Most artists have pictures of gods/goddesses,
and/or their teachers, and/or their spiritual gurus.
Top - Instead of varnish, gold
coloring/leafing may be used on the surface of the yaali. It
also looks like the instrument has an acoustic pickup, which is not being
used. The veena seems to be difficult to "mic". Its
soft sound seems to be best captured using a directional microphone place
close to the bridge area - but away from the point where the plucking
takes place. Close to the top of the bridge may be best, and tonal
equalization will probably be required. This is of course for a live
performance. If the instrument can be isolated in a studio,
omni-directional condenser microphones seem to work well.
Return to the
main article.
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