Veena – a perspective

What is Veena?

An Instrument that is played with the help of a String and Frets.  Any instrument which has a string, and a fret can be inferred as Veena, structure may vary from one another.

What and where is the origin of Veena?

With the available treatise on Veena, it is not possible to record the origin of Veena since from the Vedic days, this instrument was in vogue and was extensively used.  These empirical illustrations draw on the pursuit of music, spiritualism through Vedic chants like Maharishi Yagyavallika Sahita where, he describes, “Brhmano Veena Gaathino gayathaha anyo brahmanogayeet” “ब्रहम्णो वीणागाथिनोगायतः अन्योब्राह्मणोगीयेत्”.  When worship through fires is conducted by 2Brahmins the 3^rd Brahmin has to accompany in Veena.  To summarise considering all the above referred factors it is a “deva vadhyam that has its origin in deva loka and as a mark of benedictions by deva loka it transcended to buloka” so is the case with Venu and Mridangam.  Veena, Venu and Mridangam are deva vadyas forming three categories of instrument i.e. played with String, Air and Percussion by beating and striking.

Different types and nature of Veena?

From Ancient times, the treatieson music available describe Veena in numerous forms.

“Vishwavasusthu Brihati, Tumburustu Kalawati, Mahati naaradasasya saathaha, Saaraswatu Kachapi”  

“विश्ववासोऽस्तुबृहती टुम्बुरोऽस्तु कलावती महति नारदस्याथः सारस्वतुकचापि”

Vishwavasu the Gandharva playes Brihati Veena, Tumburu a sage like Narada plays Kalawati Veena, Devrishi Narada plays Mahati Veena and Maa Saraswati plays Kachapi Veena.

In present day environment, nature of Veena falls in 2 Categories of Classical Music viz., Carnatak Music as exists in Southern Part of India and Hindustani Music as exists in Northern Part of India.  Vindhyachal is the mid-location that serves as a line of demarcation between north and south India in terms of both location as well as culturally.

Rudra Veena and Vichitra Veena is played in Hindustani Music

Saraswati Veena and Gotuvadhyam (Chitra Veena) is played in Carnatak Music

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Does the structure of Veena play an important role for playing the instrument?

The structure of veena considers the possible utilization of the instrument in fulfilling its role for a structured performance of the nature of music. It could be folk music,Classical music, music composed for films, for social media, for advertisements etc.

A cursory view of rudra veena,vichitra veena, mohan veena are made keeping in view the style of classicalmusic that is hindustani the elements that form the core from the cardinal level to advanced levels of performance. Similarly, saraswati veena gottu vadhyam(Chitra Veena) are also made keeping in view the core elements of Karnataka music from formative levels to advance Levels.

What tree is used for making Veena and what are the essential Parts in Veena?

The Veena is made up of Jackfruit tree. With the advent of technology other means of wood available are used in making of veena.

The essential parts in the veena are the bridge through which the string is tied into one corner and the other corner tied with the keys to increase or decrease the pitch as well to tightly holding the string. There are 7 strings 4 on the top 3 are the down strings connected across the bridge to the other corner of the veena. The 4 strings cater for 3 and half octaves the instrument Can perform, and the 3 strings represents the rhythm for which it is connected and used. Practically when we view any human can sing or play to a maximum of 3 and a half octaves. All the upper 4 strings and that down 3 strings are set in Sa Pa Sa. There are 24 frets placed to over the centre portion of the instrument. Honey beehive is used after melting to hold these frets firmly. 2 Gourd One big and one small as exists in Veena are Used for playing, the smaller one is kept on the end of the left lap with the right hand over the big Gourd for pluck on top and the left fingers over the frets with body position sitting straight the veena is played. As the straight sitting posture Necessitates the veena to be played horizontally. Sitting straight and playing horizontally with top plucking makes this instrument quite challenging and the sound produced with top on PLUCK produces naturally inclined sound which is very soothing and mesmerizing.  Thus, the essential parts in Veena are the String, Frets, Bridge, Keys, the 2 Big and Small Gourds besides the other linked structures. These can be termed as the utility or moving parts.

What types of Music is the Veena is used for? Can it be used as accompanying instrument in concerts?

Veena can be used for any type of music. Generally, the veena has been used as major performing instrument. With the advent of time 300 years back violin was introduced as an accompanying instrument to vocal singing in Carnatak music.

Veena by virtue of its Profound utility Can be used as an accompanying Instrument. Prior to violin it was veena which was extensively used as a solo and accompany instrument.

Veena has been very extensively used in film music, devotional music.  The most apt part of veena can be seen and felt when Vedic chants are performed.

What is the link between Carnatak music and Veena?

The veena and the Karnataka music has a very deep bond each made up for one another. Veena being fretted instrument has certain advantages. The fusion of a metal and a string produce a sound which is akin to human voice. Both the master and the disciple can listen and see with eyes the difference in the notes that is swaras and the placements.  

In order to have a very good grip and understanding of carnatic music veena is taught to all vocalist as a matter of routine to hone swaras through practice which sheds its prolific effect in all futuristic performances.

The treaty on music describes as below:-

“Veena grhanam cha sharamreapprakartitaha tasyapi stanasya labartham”

वीणाग्रहणञ्चशराम्रेय तस्यापि स्तनस्य लाभार्थम्

Veena is recommended for regions not attainable by voice.

In carnatak music the raga bhava,the keertan rasa are well illustrated through the gamaka prayoga (vibrations of various nature 10 types) Vidhwans of the bygone days and for centuries have been heavily banking on these gamaka prayas mastering them with help of veena using the right technique of plucking and playing.  The trinities are very apt veena players and this fact is well established through their sahitya bhavas as is contained in their kirtanas.

The 22nd shrutis as exists in Carnatak music can be better understood through a Veena.

The 72 Mela Kartas can also be systematically understood through Veena.

Practising vocal through Veena enriches the voice with right usage of gamak and tehrao takes one through the process of voice culture that always ensures tranquilizing effect through,sweetness, melody and other essential elements soothing the ear and providing solace to SOUL.

What is the linkage of Veenawith Spiritualism?

Veena form part of sanathana Padhathi containing treaties that form part of Granth establishing deep rooted connectivity between veena and spiritualism. The spiritual aspects, the esoteric perspective as embedded brings out facts to the surface in a subtle manner.

The Karnataka music has a 24/7connectivity with the nature.  The sound that is produced by nature are all taken into account before initiating disciple to the world of Karnataka music. The good olden days always ensured the music is taught in a natural environment where both the master and the discipline learn the rudiments of music and practice the same with aplomb to get the desired effect. It has been rightly said “prakritey svabhavagat” “प्रकृत्यैस्वभावात्”. The nature has its role which is unalterable.  Similarly, the veena is also taught in a structured way so that the disciple makes a forward move of progression for further advancement.

Vedic chants are accompanied in veena. Almost in all houses where poojas are performed invariably singing and veena playing are ensured to have divinely feeling in day-to-day activities of the household.  Different ragas are suggested for playing in veena during morning afternoon evening and night hours.  The temples in southern India when opened in the early morning hours, it is not just opened, it is opened with singing in praise of the deity/Lord and waking him up like a child is woken up at home, This is called “Thiru Palli Yeyuchi”.  All the Vedic chants that form part of the “sanathana paddhati” has the interwoven musical notations that add further luster to the entire gamut of narration. The compositions of various keerthanas Illustrate the bhakti, the gyana, the mukti margas covering all aspects of spiritualism and the esoteric values adduced.

Performances of these keerthanas as a matter of routine makes the seeker sail in pursuit of spiritualism.

All the Jeevan Mukhtas  are musically oriented viz., Purandara Dasa, Jaya Deva, Surdas, Kabir, Nanak, Sadashiva Brahmendral, Thyagaraja, Shyama Shastri,Muthuswamy  Dikshitar and many others attained the most elevated and coveted position and became “one with the Almighty through orientation of music” from the core of heart, one of the purest form of worship, “purity engraved through music interwoven with Bhava-Raga-Tala” straightway permanently merging with Almighty.

Om Tatsat

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