INSTRUMENTS
CHRISTOIPHER GARCIA
NORTH INDIAN TABLA
SOUTH INDIAN KANJIRA
SOUTH INDIAN CHATAM
OLLA (MEXICAN COOKING POT
(BAA WEHAI ) YAQUI WATER DRUMS
PAISTE CYMBALS AND GONGS
The Tabla is the most common and popular drum used in North Indian
music today. It consists of a pair of drums - the right drum is known as
the tabla and the left drum is called the bayan (though both are known
collectively as Tabla)
The Tabla is made of wood and has a "head" made of stretched
animal skin, traditionally a goat skin. The skin is stretched by leather
straps that run down the side of the drum over cylindrical blocks of wood
which are used to tune the head. Finer tuning is done by striking the rim
of the tabla with a small tuning hammer.
The tabla is usually tuned to the tonic (Sa), Dominant (Pa), or the Sub-Dominant (Ma).
The bayan is isually made of metal, originally ceramic, also with
a stretched goat skin head. Both drums have a black spot in the center made
of manganese or iron dust (called Syahi).
Christopher plays the same tabla he has played on since 1979 with some
minor changes. His tuning straps are made of nylon instead of the traditional
leather, due to the dry southern California climate, which normally dries out leather.
A change recommended by his first tabla teacher Pandit Tarnath Rao, and his tuning
pegs are cut from a Mexican walking cane instead of the traditional dowel.
NORTH INDIAN TABLA
SOUTH INDIAN KANJIRA
SOUTH INDIAN CHATAM
OLLA (MEXICAN COOKING POT
(BAA WEHAI ) YAQUI WATER DRUMS
PAISTE CYMBALS AND GONGS
The Tabla is the most common and popular drum used in North Indian
music today. It consists of a pair of drums - the right drum is known as
the tabla and the left drum is called the bayan (though both are known
collectively as Tabla)
The Tabla is made of wood and has a "head" made of stretched
animal skin, traditionally a goat skin. The skin is stretched by leather
straps that run down the side of the drum over cylindrical blocks of wood
which are used to tune the head. Finer tuning is done by striking the rim
of the tabla with a small tuning hammer.
The tabla is usually tuned to the tonic (Sa), Dominant (Pa), or the Sub-Dominant (Ma).
The bayan is isually made of metal, originally ceramic, also with
a stretched goat skin head. Both drums have a black spot in the center made
of manganese or iron dust (called Syahi).
Christopher plays the same tabla he has played on since 1979 with some
minor changes. His tuning straps are made of nylon instead of the traditional
leather, due to the dry southern California climate, which normally dries out leather.
A change recommended by his first tabla teacher Pandit Tarnath Rao, and his tuning
pegs are cut from a Mexican walking cane instead of the traditional dowel.
JOHN STEPHENS
SARODE
SITAR
SURBAHAR
The sitar is a fretted, stringed instrument that was developed for use primarily in North Indian classical music. Its neck and wooden parts are usually carved from toon or teak wood. The principal resonating chamber, called a toomba, is made from dried pumpkin, and some sitar designs sport a second toomba, which attaches behind the top of the neck. Typically, modern sitar-s are strung with twenty strings. Seven of these carry the main melody, while thirteen act sympathetically strings, ringing out as the instrumentalist plays. The sitar also features a special bridge, unique to Indian lutes, called the jivari bridge. Unlike many western instrumental bridges, on which the string makes contact at a precise point, the jivari bridge contacts the string on a complex, parabolic curve. This is largely responsible for the characteristic sound and overtone rich texture of a properly maintained sitar.
Instrumental North Indian music is heavily influenced by vocal music. To this end, sitar technique strongly emphasizes a technique called meend, which is the lateral pulling of the string in order to produce vocal style ornaments and effects. Though it is similar to guitar-style string bending, the potential range of sitar meend is much greater, sometimes reaching
a span of a musical fifth or more.
The sitar was probably developed in the early 1700s, and is related to several other Indian instruments that share similar features. The rudra veena was a medieval stick zither that was the predominant instrument for master musicians in the Mughal courts, and its technique had a strong influence on the development of the sitar. Another instrument, the surbahar, is in many ways a bass sitar, though it was originally designed to produce the particular effects of a style known as dhrupad, which is associated with the rudra veena. The sitar is also closely related to the sarode, a fretless, plucked instrument with a goatskin head (like a banjo), which shares virtually the same repertoire. Over the years, improvements have been made in sitar design, enabling it to incorporate a variety of styles within a single performance, including dhrupad and other genres like khayal and thumri.
SARODE
SITAR
SURBAHAR
The sitar is a fretted, stringed instrument that was developed for use primarily in North Indian classical music. Its neck and wooden parts are usually carved from toon or teak wood. The principal resonating chamber, called a toomba, is made from dried pumpkin, and some sitar designs sport a second toomba, which attaches behind the top of the neck. Typically, modern sitar-s are strung with twenty strings. Seven of these carry the main melody, while thirteen act sympathetically strings, ringing out as the instrumentalist plays. The sitar also features a special bridge, unique to Indian lutes, called the jivari bridge. Unlike many western instrumental bridges, on which the string makes contact at a precise point, the jivari bridge contacts the string on a complex, parabolic curve. This is largely responsible for the characteristic sound and overtone rich texture of a properly maintained sitar.
Instrumental North Indian music is heavily influenced by vocal music. To this end, sitar technique strongly emphasizes a technique called meend, which is the lateral pulling of the string in order to produce vocal style ornaments and effects. Though it is similar to guitar-style string bending, the potential range of sitar meend is much greater, sometimes reaching
a span of a musical fifth or more.
The sitar was probably developed in the early 1700s, and is related to several other Indian instruments that share similar features. The rudra veena was a medieval stick zither that was the predominant instrument for master musicians in the Mughal courts, and its technique had a strong influence on the development of the sitar. Another instrument, the surbahar, is in many ways a bass sitar, though it was originally designed to produce the particular effects of a style known as dhrupad, which is associated with the rudra veena. The sitar is also closely related to the sarode, a fretless, plucked instrument with a goatskin head (like a banjo), which shares virtually the same repertoire. Over the years, improvements have been made in sitar design, enabling it to incorporate a variety of styles within a single performance, including dhrupad and other genres like khayal and thumri.
PABLO CALOGERO
BANSURI
BASS CLARINET
BASS FLUTE
SOPRANO SAXOPHONE
TENOR SAXOPHONE
BANSURI
BASS CLARINET
BASS FLUTE
SOPRANO SAXOPHONE
TENOR SAXOPHONE
