Chapter 7

Different Banis of Playing the Saraswathi Veena (Regionally)

Saraswathi Veena evolved as one the foremost concert instruments of

Camatic music. The late 18* Century to the early 19* century undoubtedly

represents the most brilliant period of Camatic music. This pinnacle is

defined by the works of the MUSIC TRINITY Thyagaraja, Muthuswami

Dhikshitar and Shyama Sastri, all bom in the same small town of Timvamr,

near Tanjavur.

The gradual distribution of their compositions and the art of Veena playing

from Tanjavur towards the other princely courts in the four southem states

can be clearly retraced throughout the 19* Century. Modeled on the tastes,

often very assured, of the local princes, subjected also sometimes to a few

exterior influences (westem or Hindustani), and always under the influence

of exceptional instmmentalists, traditions and particular styles of playing

called 'Banis' developed in a number of centers, of which the most well

known were Thanjavur (Tamilnadu), Mysore (Kamataka), Travancore

(Kerala) and Vizianagaram (Andhra).

Each of these states produced extraordinary Vainikas who set trends for

others to follow. Each of these artistes had styles that were characteristically

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different from one another and had marked differences. This particular

individualistic quality that each performer had to his own playing is called

'Bani'. Bani is nothing but a style that is cultivated carefully over a period of

time by a set of people or one person. This style or Bani is then passed over

to the next generation of Shishyas or disciples who want to follow that

particular style of rendition. Its usage is similar to the word 'Gharana' in

Hindustani music.

To the lay listener, all Veena recitals my sound alike, but the discerning ear

can distinguish different styles of Veena playing. Before we go on the

different styles of playing regionally, we will highlight the structural

differences in the Veenas manufactured in these four states which is

probably directly or indirectly influenced by the styles adopted for playing

the Veena by the Vainikas of these regions.

The body of the Saraswathi Veena is always carved and hollowed from one

large piece of wood. It is composed of three main parts: The main

resonator, the Dandi (neck, which is hollow and connected to the main

resonator) and the peg box (separated from the other two parts by a partition

and decorated with a sculpture of a dragon, called the Yali). The Yali, which

is the head of the dragon that decorates the peg box of the Veena, is a very

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ancient iconographical figure of South India, which was already prevalent in

the Pallava temple sculptures. And from then on is continually used by all

periods of history. It is symbolic of the triumph of mental power on obscure

forces, and it is also attributed the role of protector. The music of India is

traditionally considered a sacred art, a sort of Yoga (Nadopasana) that can

lead to liberation (Moksha). It is therefore easy to understand that the

presence of the Yali on the Veena is not a simple decoration but an

indispensable attribute to the integrity of the instrument.

Depending on the regions, the era and the instrument maker, the three

elements constituting the body of the Veena are made separately and then

assembled together, or alternatively, carved directly from a single piece. The

instrument makers prefer the bark of the jack wood tree to make the main

resonator. In fact, they use the part closer to the root or the low branches of

the tree, as the tree is generally broader at that end. The jack wood darkens

with the passage of time. A golden yellow Veena slowly turns very dark

brown shade over the period of time. Rosewood is also used in making some

parts of the Veena like the pegs, peg box, soundboard and the bridge.

Originating from the mountainous regions of the Kerala and of Kamataka, it

is not surprising that it is used more frequently for instruments made in these

areas.

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THANJAVUK VEENA

MYSORE VEENA

Mysore Veenas

These Veenas are made in Kamataka. The Main resonator (Kudam) and the

Dandi are manufactured with best kind of jack wood that has good grains.

These Veenas are polished with colorless polish. In the old Mysore Veenas

the Birudais are made of ebony wood with ivory Shikamani. The wood used

for the neck is a different wood from the one used for the main body of the

Veena. The Yali head is carved directly from the neckpiece of the Veena.

The thickness of the wood used for the round Kudam in the Mysore Veena is

very less as compared to the Tanjavur Veena. It is only about 2.5 to 3 mm.

This increases the resonance of the instrument. The main resonator is

absolutely plain with no decorations what so ever.

The top board or the soundboard of the main resonator plays a very

important part on the final quality of the timbre of the Veena. In the Mysore

Veena, this soundboard is made from good quality rose wood with parallel

grains. Following the craft tradition of this city, the soundboard is relatively

thin (around 4 mm) and its profile is completely flat. These characteristics,

which render it very flexible, bring about a low resistance to the vertical

pressure exerted on to its center by the bridge. In fact, because of the

absence of any bar, there is a slight sinking at this spot. The flexibility of the

sound boards of the Mysore Veenas favors the emission of the low register,

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but forbids all excessive use of string deflection which, due to considerable

increase of pressure on the bridge, deforms the sound board and alters the

accuracy of the instrument, in particular the stability of the Tala strings. No

sound hole is visible on the surface of the soundboard and the instrument is

therefore a completely closed unit.

The absence of the decorations could be because of the thinness of the wood

used on the Main resonators. But it is said that the Veenas of court musicians

were decorated in some places with silver and ivory.

The neck of the Veena, also known as the Dandi is attached to the main

resonator with the help of pegs that go through these two parts. Five pegs go

through the Dandi and the main resonator to attach it and three pegs go

through the Dandi and the Peg box to attach it. Fine strips of deer antler

conceal these two joints exteriorly with indented edges. This constitutes the

sole ornamentation of this part.

The Dandi is made out of a different kind of jack wood. The Dandi is rather

slender and thins greatly from one end to the other. It is hollow inside. The

hollow curvature of the elongated neck is covered on the top by a Dandi

Palakka, on which is fixed the fingerboard. The Dandi Palakka in the

Mysore Veena is made of Rose wood. This fingerboard is fixed on the Dandi

by skin glue, and joined to the soundboard by a brass screw. Three small

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knobs made out of antler, which are fixed to its side, serve as nuts for the

drone strings. The wax made out of beeswax, rosin and lamp black is applied

on the two ledges of the Dandi palakka and the frets are placed on this. The

frets in the Mysore Veena are of increasing length.

The peg box is made out of Rosewood and is attached to the Dandi by a

pegged tenon and as stated before, its Yali is carved at its extremity, from

the same block. Access to the pegs is largely open, without a cover, and no

storage space (for plectrums) has been arranged at the top. The tuning pegs

are arranged on both sides of the peg box in two groups: firstly those of the

two highest strings, Sarini and Panchama and secondly those of the two

lowest strings, Mandhara and Anumandhara. A fine decoration made from

strips of engraved antler, the only one on the entire instrument marks the two

exterior edges.

In Kamataka, where there is a sfrong tradition of woodcarving, the making

of the Yali is realized with particular care. Each instrument maker has for

this piece his own canons which he reproduces with slight variations

depending on the instrument, and which forms a sort of signature. The Yali

in the Mysore Veena is more of a Lion than a dragon. The piece is both

voluminous yet slender and is made with extreme care. It forms just one

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piece with the peg box and a petal- like finish, imitating fiir extends itself

widely underneath it.

Regarding the strings, the first two strings are made of steel and the lower

octave strings are made of bronze.

The bridge's characteristics are substantially responsible for the particular

timbre of the Veena. The bridge is formed from a wooden base onto which is

glued using lacquer, a plate of brass or bronze with a slightly rounded profile

that serves to support the four melodic strings. The profile and the incline of

this surface are of capital importance in the quality of the timbre of the

instrument and are subject to very minute adjustments. The three Tala

strings rest on another plate of brass, curved, immobilized between a foot of

the bridge and the soundboard simply by the pressure of the strings. Two

small bamboo or steel nails, embedded into the soundboard hold in place the

two feet like extensions of the bridge onto which a lateral push is exerted

due to the Tala strings. The bridges from Mysore have the characteristic of

using a small independent plate of steel to support the Sarini string with the

other strings normally resting on brass. According to the musicians, the use

of steel gives the tone a slight 'sharp' colour, which no doubt favors its

perception.

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The Mem is constructed from a small parallel fret like structure made from

deer antlers, rounded on the upper side and equipped with four notches.

The four ioiobs on which the Tala strings pass though are made out of antler

and are fixed on the side of the Dandi.

The tailpiece or the Nagapasha is a rectangular outgrowth from the Main

resonator and the soundboard, which is reinforced by a plate of the antler,

and pierced with nine holes. Each string is attached to the tailpiece by a

metal buckle (Langar). This device called 'Langar' allows the string to be

easily tuned with precision. The Mysore Veena uses a simple twist of brass

wire for a runner.

The tuning pegs are made out of Rosewood and are made from one piece

and are decorated with small buttons of antler, which are fixed in the middle

of the handle.

The secondary resonators, which now serve the purpose of only providing

the required height to play the instrument, were initially made of scooped

out gourd (Sorakkais). It was said that this too complemented in enhancing

the quality of sound.

But now in the Mysore Veena, since the beginning of the 20* Century, metal

resonators made from plates of welded steel, colored either green or black

are used.

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Thaniavur Veenas

The Thanjavur Veenas are obviously manufactured in Tanjore in Tamilnadu.

The Veenas manufactured here are made entirely out of Jack wood, except

the tuning pegs and the bridge that are made out of Rose wood. The Veena

from Thanjavur is very sturdy with the thickness of the wood used being

about 6 mm (1/4 inch) as compared to the Mysore Veena that is only about

half as thick as this. The Thanjavur Veena is made tension resistant. The

Main resonator or the Kudam is full of ornamentation made from fine plates

engraved with a stiletto and inlaid with colored resin that is glued and fixed

with small bamboo nails in the junction between the main resonator and the

soundboard of the Veena.

In the past this decoration was made from strips of deer antler. Today, this

decoration has been continued but made from a synthetic material, a white

plastic of varying quality. This decoration, oversized on certain instruments.

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often conceals flaws on the wood or structure and distorts the fine quality of

sound. So, it is better to use minimum ornamentation.

These carvings are made out of wood itself and hence are not detrimental to

the sound.

The soundboard of the Thanjavur Veena is made from a beautifiil piece of

jack wood with no flaws but tight parallel grains. It has a thickness of about

7 mm, and its slightly arched profile has a rise of 12mm. Its resistance to the

vertical pressure of the bridge is therefore greatly superior and can support

without any notable deformation the differences in pressure brought about

by substantial deflection of strings.

Another characteristic feature of the Thanjavur Veena is that its sound board

possesses two different types of sound holes: the first consists of two sets of

38 small holes 2 mm in diameter arranged in circles around the two rosaces.

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the second is a large circular opening measuring 34 mm, which can be

closed with a stopper. The small orifices surrounding the rosaces are

traditional, and can be found almost identical on most Veenas not only from

Thanjavur but also from Andhra Pradesh and sometimes even Travancore or

Mysore.

The central sound hole generally has a surface of more than 9 cm. It has, in

contrast, a very perceptible influence on the tone of the notes of the lowest

octave. This permits the emission of the first harmonic, the "fundamental",

and thus gives a certain 'roundness' to the sound, slightly to the detriment of

the acoustic efficiency. Its use in the making of the Veena does not appear

until the late 1940's. As far as ornamentations are concerned, there is not

much decoration on the soundboard.

The Dandi or the neck of the Veena is attached to the Main resonator by

using a lacquer called 'Arakku' which is applied when warm. Once this

lacquer has cooled, it fixes the pieces in an extremely strong and durable

manner. However, this assembly can be subsequently dismantled in order to

do reparation, by simply breaking this fairly brittle lacquer. This joint is

hidden on the outside by a white plastic strip. The decoration of the neck

here is still made from sheets of engraved synthetic material fi-aming a

border, which dissimulates its connection with the Dandipalakka.

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In the Thanjavur Veena, the Dandi and the peg box are carved out of the

same wood that is used for the main resonator. The neck is hollow from

inside and its length is much like the Mysore Veena but the shape is less

streamlined.

The Dandipalakka is made out of jackwood. Its higher extremity stops

sharply at the level of the nut (Mem) of the melodic strings, which rests

directly on the neck. It is fixed with synthetic wood glue and screws that rest

on three small transversal boards nailed on to the neck.

Surmounting the Dandipalakka and embedded into the grooves, the two rails

which are made from the mixture of bees wax, rosin and lamp black support

the 24 frets of the instrument. These frets are made from bronze, brass or

sometimes even steel. The frets in the Thanjavur Veena are rectangular,

slightly rounded on the top and of identical size. The frets have two small

feet like extensions that enable them to be anchored into the wax.

The peg box is integrated into the neck of the instrument, but its Yali, which

is carved in a block of red cedar, is added onto its extremity. It's length is

much more substantial since there is a small compartment at the top which is

closed by a small curved plank. The tuning pegs are arranged on either side

of the peg box at equal distance from another. The decoration that stretches

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mainly on the peg box's edges and on the lower cover, follow in the

continuation of that of the neck.

The Yali in the Thanjavur Veena has a more rigid form. Its style does not

change from one instrument maker to another. It is usually covered with

gold colour gild paper and the eyes and tongue are painted in a strong red

colour. But some people prefer to keep their Yali in wood finish itself, so

they do not stick the gilt paper. The Yali is fixed to the peg box with the help

of a screw.

Regarding the strings, the first two strings are made of steel and the lower

octaves strings are copper wound strings.

The bridge of this Veena is similar to that of the Mysore Veena except that it

possesses only one top plate, that of brass or bronze.

The Meru in this type of Veena is made out of wood surmounted with a

piece of brass fixed with lacquer and leans directly on the neck. The small

knobs on which the Tala strings pass through are made either out of steel or

out of antler and are fixed on the side of the neck or the Dandipalakka.

The Tailpiece or the Nagapasha is a metal piece in the form of a shield that

is surmounted with a bar and screwed onto the main resonator.

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The strings are tied to the langars that are fastened on to the Nagapasha. For

minor tuning adjustments there are small metal runners on the langars that

can be adjusted to make minor adjustments.

The tuning pegs are made out of Rose wood. They are of two parts; the

handles are made separately and are then joined to the rest of the peg by a

tenon. A large aluminum button is embedded into their center.

As regards the secondary resonator, the Thanjavur Veena makers mostly use

papier-mache resonators, painted in bright colors and decorated with figures

of gods and goddess. Since this material is very absorbent, these volumes

unfortunately play no acoustic role. Certain types made from fiberglass are

also often used: these are far more efficient, if not aesthetic.

Andhra Veenas:

The regular Andhra Veenas were by and large like the Thanjavur Veenas

with small differences. But a special kind of Veena in Andhra called Bobbili

Veena was manufactured which was different in every way including the

posture of playing.

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Andhra Pradesh also has a tradition of Veena making in a place called

Bobbin in the present Vizianagaram district from where the instrument

derived its name — Bobbili Veena. Bobbili is a place of historical

importance as it was once upon a time a princely State and was ruled by

kings. The rajas of Bobbili were also patrons of the fine arts. They

encouraged Veena making and in those days, Bobbili produced great

musicians and Vainikas (Veena players). The instrument is about 1.5 m long

and is made, traditionally from jackfroiit wood. It has a fairly large and

round, pumpkin-shaped sound producing box called the Kudam with a thick,

wide finger-board, the end of which is carved into the head of a dragon-like

mythological animal called Yali. A smaller, round, sound box {suraikkai) is

attached at the other end beneath the fingerboard. The Veena has 24 metal

frets (brass/bell-metal) embedded in a hardened mixture of bee-wax and

charcoal powder. The Bobbili Veena has a special ridge pattern on the

bigger sound box and has designed carvings. The other two instruments are

less decorative in comparison, while the Thanjavur Veena is heavier and

more designed. The quality of sound and craftsmanship of the Bobbili Veena

is equal to that of the Thanjavur instrument though it is less popular. The

reason may be that Thanjavur Veenas are manufactured in great numbers,

while Bobbili Veena still remains a rural, small-scale industry. There are

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around 30 families in a small village called Gollapalli (near Bobbili),

dependent on making this musical instrument for their livelihood.

Kerala Veenas

The Kerala Veenas are manufactured in Trivandrum. These Veenas are

Majestic and plain. There are some Veenas that are made with borders also.

These Veenas are also more or less like the Thanjavur Veenas, but do not

have as much decorations. The Thiruvanandapuram (Trivandrum) Veena is

longer and lighter.

The frets are thin and round.

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This is the Veena from the Royal family of Thiruvanandapuram.

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Ekanda Veena or Akhanda Veena

Ekanda Veena is Veena manufactured with single piece of wood without

separate pieces like Kudam, Dandi, Yali piece etc. It is a complete single

piece of wood, carved in the shape of Veena. The parts of the Veena are all

same as in the other Veenas. The workmanship required for manufacturing

this is more and this Veena costs more. These Veenas are said to have more

resonance.

There are three sizes of Veenas - Small, Medium and full size.

Ref: 'INSTRUMENTS HISTORIQUES' by Daniel Bertrand.

The structure, shape and constructions of the Veenas had a great influence

on the style adopted in playing them. The Kerala Veena looked a lot like the

Thanjavur Veena and the Andhra Veena had amalgamations of all these

other Veenas. Let us analyze the playing styles each of these Banis in detail.

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The Mysore Bani

Among all the styles, 'Mysore Veena Bani' with its 'Meetu' and

presentation has a charm of its own.

Veena Sheshanna is the principal architect of the Mysore school of Veena

playing and Veena Subbanna is the other important artiste of this style.

Venkatagiriappa and his disciple, Mysore Doreswamy Iyengar are other

important torch bearers of this Bani. The latter describes the Mysore style as

basically an instrumental style, in which the melodic purity of the notes is

sought to be retained. Therefore deep gamakas are not generally used. The

Mysore style exhibits its significance of Veena playing with Gamakas and

correct Kalapramana with which they should be rendered. Shallow gamakas,

playing the notes on the frets, a pleasing Meetu, use of tribhinna (plucking

the three strings simultaneously or successively) for a pianoforte effect, use

of Janta Swaras in phrases like sa-ni-ni-dha-dha-pa-pa-ma and Dhatu Swaras

such as ri-pa-ga-dha-ma-ni-pa-sa are typical of this style. Left hand fingers

are separated to facilitate fast passages. The Secret of producing a mature

sound lies is 'Meetu' i.e. plucking. A special fingering technique was

introduced by which a fast musical passage could smoothly be negotiated

with a single stroke. Inflecting the string produced certain nuances. The

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effect of 'Pause' while rendering Alapana and Swara Prayogas is another

important characteristic that highlights this Bani.

The raga Alapana is presented on these lines, and the Tanam typical of

Mysore is full of melodic effects achieved by the use of appropriate plucking

modes. An interesting feature used to be the 'chitta tana' (preset Tanam)

says, Doreswamy Iyengar. These were extensively used for practice to

enable the student to gain speed and clarity. Tanas are played in three

degrees of speed that adds colour and liveliness. The employment of Dhatu

Swara Prayogas while rendering Kalpana Swaras is another noteworthy

feature of Mysore school. The compositions like Dams and Thillanas are

well known for representing the Dhatu Swara prayogas.

The interpretation of a particular note in Mysore style can be well portrayed

by introducing special effects. There are various possible modes with which

a particular musical note can be presented in Mysore style.

Many ragas such as Behag, Jhenjooti, Khamas played by Vainikas of the

Mysore school have a distinct North Indian touch, due to the proximity of

Kamataka's northern districts to Maharashtra and the ensuing influence. It is

very pleasing and reposeful. Playing Veena in Mysore style is unique. It is

played with nails of the right hand fingers, without using metal plectrums

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that usually used. This helps resonance of the strings more naturally. The

mellifluous touch is closest to soft vocal tones. "Veena as such is a soft and

melodious instrument and needs delicate handling," says Veena exponent,

Doreswamy Iyengar. It was never loud in his hands.

Coming to the aspect of the structure of the instrument having an effect on

the style, the top board of the main resonator in the Mysore Veena is very

thin and so if a lot of pressure is exerted on the bridge by means of inflexion

of strings and deep gamakas, then, there will be a slight sink in the top

board. Hence, probably unconsciously, the Vainikas of Mysore do not play a

very vocalized style and give deep gamakas. Their playing is pretty much

fret based. It has to it a wonderfiil tone, sweetness and lilt that are very

characteristic of this style.

Finally, mastering the technique is only means to an end and the sensitivity

of the Mysore Bani can be appreciated more in a close and intimate

gathering. These are some of the Characteristics of the Mysore Bani

• Preference for straight notes

• Liberal usage of Meetus

• Tonal sweetness

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• Using natural finger nails instead of plectrums

• Preference for sharp Veena tone

• Less of deflection of strings

• Increased instrumental effects to bring out the beauty of Veena as an

instrument.

• Split fingering techniques

Thaniavur Bani:

Players of Thanjavur School aim at reproducing the Vocal style as closely as

possible. This approach has been developed right from the heyday of the

Thanjavur court and has been honed and polished to perfection in this

direction. Belonging to the "Thanjavur Bani" their play was marked by

gracefulness of "nada" and daintily laced cadences and subtleties of sound

that were given more prominence than rhythm-based exposition. No effort is

spared to imitate Vocal music.

Vidwan, K.S.Narayanaswamy, one of the eminent Veena exponents

belonging to this school, says that the uccharipu is of utmost importance -

the pronunciation and accent on each syllable of the Sahitya is to be

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transferred to the Veena exactly as it is sung. The raga Alapana, Tanam,

rendering of Krithi, as well as Neraval and Swaras are all in this mould.

Raga Alapana is elaborate and replete with deep gamakas or graces. The

pace is leisurely. Fast passages are eschewed; for fear that Gamaka and finer

nuances will be lost. Plucking Styles like 'Kathiri Meetu' and 'Tribhinna'

are avoided. It is a stately and dignified style whose classical appeal can

never fade.

The traditional Thanjavur School gave rise to three distinct styles of Veena

technique. K.S.Narayanaswamy belongs to the Vocal or 'Gayaki' style

described above. The late Karaikudi brothers - Subbarama Iyer (who played

the Veena holding it vertically) and Sambasiva Iyer - developed this style

further in their own individualistic manner. They were the creators of the

famous 'Karaikkudi Bani'. They were famous for their elaborate raga

Alapana and Tanam- they painted the raga picture on a large, wide canvas,

so to speak, and their imagination seemed endless. Delineation of a single

raga could go on for hours.

The following features distinguish the Karaikudi Bani from other styles.

• Balance between sliding (horizontal) and pulling the string across the

fret

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• Use of the right hand to curb sustain

• Absence of vibrato

• The use of Tala strings for keeping Tala during the rendition of a

composition

• The strumming of the main bass strings for effect and pulse

• Rare use of playing three notes together {Tribinnam)

• The use of paired notes during Tanam (equivalent of jod in North

Indian Classical music) rendition

• A distinctive style of Tdnam

• Pausing at notes to imply a sustain or for aesthetic effect

Most of the artistes who played in the Thanjavur Bani sang along with their

instrument.

Veena Dhanammal was also another important representation of the

Thanjavur Bani, but developed the art in her own unmistakable way to such

an extent that she was totally individualistic and in a class of her own. Her

style was deceptively simple and pleasing to the ear. In an effort to

reproduce the Vocal Gamaka, she employed an elaborate left hand technique

- separation of the fingers, the occasional use of the gentle pluck with the

left hand fmger, and various other devices. This produced an effect similar

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to the sweet tinkling of silver bells. The fact that her Veena was tuned to a

higher pitch (equivalent to the female voice, about G or G sharp) enhanced

this effect. More about Veena Dhanammal will be found in the next chapter

that deals with the Banis of the great Vidwans of the past.

The other individualistic style from Tamilnadu is that of the highly original

S.Balachander. He is the upholder of the 'Gayaki' tradition and has

revolutionized the art and science of Veena playing. He used the 'pulling'

technique to get more notes on one fret itself, thereby bringing in more

continuity. He uses it to play four or five notes on a single fret in an attempt

to eliminate unnecessary plucking and thus bringing it closer to the Vocal

style. He does employ fast passages as contrasted with the orthodox

Tanjavur tradition, and his style can be described as virile and aggressive.

Raga Alapana is his forte and he is able to uncover hidden beauties even in

rare and Vivadi Mela ragas. S.Balachander's style is dealt with in great

detail in the 9* chapter.

Thus we can see that most of the veterans of the Thanjavur Bani were

strictly adhering to the 'Gayaki' style and they were trying to literally 'sing'

through their Veena.

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Andhra Batti

The Andhra School of Veena playing can be distinguished by the variety of

Meetus used, the elaborate right hand technique, and a few high-speed

passages employed in rendering the raga and the Tanam. Veena

Venkataramana Das of Vizianagaram was famous for his Shatkala or 6

speed Tanam - this, holding the Veena vertically!

Sangameshwara Shastri was another well-known artiste of this style. It is

said that they used to perform 'VEYISADHAKAM', that is, practicing the

Alankaras in the three octaves in three speeds non stop a thousand times

everyday. This, they used to do for three months and it served them to go

without any further practice during the rest of the year. Vasa

Krishnamoorthy is one of the Vidwans of this style.

Emani Sankara Sastri was one of the greatest exponents of the Andhra Bani.

He expanded the horizons of this Bani by introducing a variety of Meetus

and tonal variations. He modernized this Bani with the introduction of

contact mike and made the subtle nuances of the Veena heard to larger

sections of audiences. Speed came naturally to the artistes belonging to this

Bani. Their technique was designed to play high speeds. As can be noticed

all the exponents of this Bani played high speeds.

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In the Andhra style, Tanam is replete with instrumental sound effects and is

played in three speeds. Some Vidwans of this Bani adopt the Sitar style of

playing Tanam.

The total impression conveyed by this style is a very lively, resonant,

captivating instrumental effect with a sense of completeness in all respects.

Ref: Radhika Rajnarayan's article about Different 'Veena Bdnis' in

'SRUTHI' magazine Edition April 1984.

Kerala Bani

It would be more appropriate to discuss this topic under the heading,

'Artistes from Kerala' because almost all the artistes from Kerala played in

the Thanjavur Bani. Kalyana Krishna Bhagavathar, K.S.Narayanswamy

(whom we have already mentioned) and Trivandrum R.Venkatraman are all

from Kerala. But their style was vocalized and they followed the vocal

technique of exposition and rendition verbatim. The instrumentalisation

aspect was present to a very small extent, but it was no way comparable to

the entirely instrumental Banis of Andhra and to a certain extent Mysore.

The melody of the Mysore style, the traditional vocalized quality of the

Thanjavur style, the flamboyance of the Andhra style is all-beautiful in its

own way. The splitting of the left hand fingers is a characteristic feature in

almost all styles. Only the technique differs. More analysis on this subject is

168

)th t̂h done in the 8 and 9 chapter that talks about the individual styles of

Vainikas of the past and present.

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