Why are tambura and nagaswaram important to Indian classical music?

Scholar RK Sriramkumar and tambura maker Udayakumar in the session. , Photo courtesy: K. pichumani

The first Lech-Dame session of the Music Academy’s 98th convention and concert marked the return of the thematic focus after 49 years. It is curated by this year’s nominee Sangeetha Kalanidhi TM Krishna. The theme, ‘Aesthetics and Synthesis: Reflections on Raga in Indian Art’, began with a practical session led by violinist RK Sriramkumar and tambura-maker Udayakumar, exploring the history and significance of the instrument. Sriramkumar begins by explaining the historical roots of the tambura, tracing its lineage to West Asia. Early depictions of the tambura appear in the time of Swami Haridas, notably in a painting of Tansen playing the tanpura. This indispensable instrument of Indian classical music owes its importance to the determination of ‘Sa’ (tonic note) which establishes it. Adhara Shruti It is necessary to define ragas.

Sriramkumar emphasized that playing and tuning the tambourine is an art, separate from an instrument like the veena. Its subtle harmonics and overtones create a resonant base for the melody, beyond the monotony of a typical drone. He said that a perfectly tuned tambourine produces overtones like Chatushruti Rishabh But Panchamam string and Antar Gandharam But Mandharam string.

TM Krishna and V. Sriram in the session. , Photo courtesy: K. pichumani

Udayakumar went into detail on the intricate craftsmanship of the tambura, highlighting that its body is crafted from aged wood for optimal resonance, and its bridge made of ebony, rosewood or camel bone to ensure tone quality. There must be a precise curvature for. The carefully placed chord string at the bridge enhances the rich tonal resonance of the tambura.

Tambura has long been loved by veteran artists like KV Narayanaswami, MS Subbulakshmi and Kumar Gandharva, who maintained their instruments with great care. Sriramkumar shared anecdotes, including MS Subbulakshmi’s treasured Thiruvananthapuram tambura, Lakshmi and Saraswati, gifted by Semmangudi Srinivas Iyer. These tambourines, where images were carved on wood, have now become rare as the workshops that made them no longer exist. He also recalled KV Narayanaswamy’s habit of tying extra threads braiding To avoid relying on deposit column (floor mat) in case the thread chord bursts!

In the concluding speech, the Academy’s expert committee along with Krishna recommended making the tambura mandatory in concerts and classes to preserve its role in Indian classical music. Krishna also questioned why the Mirage tambura is placed on the lap and not on the ground in Karnataka performances, as the gourd base resonates more when placed on the ground, unlike the Thanjavur tambura, which is made of wood.

A. Vijay Karthikeyan and V. Prakash Ilayaraja explained the nuances of Nagaswaram Bani. Photo courtesy: K. pichumani

The second Lech-Dame session, titled ‘Raaga Unlimited: Nadaswaram Bani’, was led by scholar A. Presented by Vijay Karthikeyan and V. Prakash Ilayaraja. He began by highlighting the prominence of raga alapana on kritis in temple music ceremonies. A clip of Nagaswaram legend TN Rajaratnam Pillai’s Thodi showcases his unique style, starting with a simple Pure Gandharam before introducing competeA notable deviation from the vocal approach. Vijay also threw light on deliberate withholding or demise Among the accompanists in Rajaratnam’s singing. Another clip from Vidwan Vedamurthy Pillai’s Varaali showcased a seamless transformation Thara Sthiri Gandharam To Mandhra Sthayi GandharamA feat requiring extraordinary breath control.

The role of thavil in raga alapana is also discussed, especially its synchronization in maintaining the kalapramanam. The scholars shared an anecdote about Vidwans Mani Pillai and Mamundiya Pillai, who continued to play Raga Alapana even after the four rounds of the temple procession were completed. Saveri’s performance displayed extraordinary coordination Gandharam Held for about 20 seconds in perfect unison. Prakash emphasized the challenge of coordination between two Nagaswaram players, where both mentality (State of mind) must be aligned.

The session concluded with a remarkable Ragamalika performance, performing 42 ragas on the rare ‘E’ Shruti Nagaswaram.Old Timiri Nagaswaram. Krishna, in his remarks, praised their profound artistry, urging the audience not to discuss any more but to leave with the music resonating in their hearts. He noted its unique operation Gandharam Thodi Mein – Mostly simple but given in Nagaswaram productions Compita Gamacam Treatment by singers – This suggests that Nagaswaram players may have preserved the old form. Krishna also appreciated Chowkam (Peace) Even in fast phrases, a quality singer can take inspiration.