Tweaking tanpura's, fussing over jivari and tuning with Ustad H. Sayeeduddin Dagar
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- เผยแพร่เมื่อ 22 ส.ค. 2017
- 'Tweaking tanpura's' with my former, regretted teacher, Ustad H. Sayeeduddin Dagar, filmed by Felix van Lamsweerde. Felix had a pair of first class tanpuras made in Miraj in 1963. He kept one, and the other went through the hands of two fine musicians (Jamaluddin Bhartiya and Alexander Smit before she came to me. For the concert tour I organized for Sayeedji, we used this pair for most of the concerts. Here is the first time the two Miraj sisters, made by 'Prof. Haji Abdulkarim Ishmaelsahib & Sons Satarmakers Miraj' were reunited. Previously, I had changed the strings similarly to mine, and done a jivari-fresh-up. We tune to a low B, sometimes B-flat. Listening back to it now myself, I notice I then still had a lot to learn: it would still take a while before Sayeedsaheb allowed me to tune in public. With a longer commitment over time, while doing the jivari-work on many instruments, selecting strings, getting everything just right, tanpuras have lot to teach. Minute changes in tuning, shifting the jiva-threads, even plucking can change its colours to complete the mood of the chosen raga. A carefully tuned resonating energetic system that needs little input to generate a sustaining soundwave with many layers of harmonics. Chaos is always the beginning of things. Kaleidoscopic sound, raining overtones, or diversely crystallized root-harmonies, the tuner must know what lies ahead and where to go, and to allow for surprises on the road, but also keep a clear idea of the raga in your mind's ear. The Dagars often decided only while tuning up what raga they were going to present. Makes sense to me.
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This is some of the most incredible footage one can get of a Dagar - tuning a Taanpura, arguably even more valuable than a vocal recording. The love, the care, the sensitivity, and the connection between the Taampura and the Dhrupadiya is even more evident in these clips. It is almost as if Ustad Syeeduddin Dagar can hear how the Taanpura wants to be tuned, what it wants to say. And he treats it with such respect that it is as if he is tuning music itself. This is something that one does not get in the live performances of today, causing the audience to underestimate how important and sacred the Taanpura really is for each Indian Classical musician. This video, for sure, can reawaken that respect for both the Taanpura and the Taanpura player as it has in me.
Thank you, thank you for sharing this rare footage!
Pandit Kumar Gandharv used to say: I am not singing my music. I am singing what the Tanpura suggests me to sing (through its harmonics -- svayambhoo --self-created svara-s).
2022, I am into making a Monochord Tambura and this is the most valuable video i have found so far. Thank you!
so precious !!! the best school for ear and listening and LIFE !
the jora of tanpura, or the twin sisters as we call them, were used in the concert-series I was able to put together for the winter of 2000. Sayeeduddin Dagarsaheb came with his wife, two sons, Nafees and Anees, and pakhawaj-player Udhav Shankarrao Upegaonkar. The first concert was in Köln, for the WDR, who graciously permitted to use the recording for raga Malkauns he gave there. Raga Desh, which opens the Dagarvani Dhrupad CD issued by Buda Musique, raga Desh was given in the Zuiderpershuis, Antwerp, now sadly closed up - cutting of funding! The Tropical Institute harbored a saturday evening concert and sunday's workshop. In Paris, Centre Mandapa, and the Salon de Musique, a favorite venue for Dagarsaheb. In all those places, the twin sisters were carefully dragged along and kept in tip-top shape by our endless mutual fussing over jivari and all the rest. This is the link to the recording :
th-cam.com/video/0gno01X9X9Q/w-d-xo.html
Extremely valuable and educative clip on tanpura tuning, Martin Saheb. Many thanks for sharing this treasure.
Thanks to upload kindly accept regards and love from Ayodhya India.
The Tanpura creates, like almost no other instrument, not just a series of high pitch harmonics but also one of very low subharmonics.
What a sound...!!!so divine
Heaven on the Earth.
Très émouvant et précieux partage . Merci beaucoup !
MERCI !!!
Just wanted to know the name of the Tanpura maker as he is also part of the credit.
Hi. How are you? I'm brazilian and don't speak english but i will try. I bought a tampura by internet. It was tuned but it doesn't makes that characteristic "noise" like a buzz (with many harmonics) at the end of decay of the sound, like every tampura that i see in youtube. It's sounding like a unplugged guitar, the sound not continues. It's not the voicemail of a indian instrument, that makes that beautiful drone, like a golden timbre.I don't know if i'm explaining right. Did you understand? :) Can you give me a help? Thanks a lot.
Ugo Barra Limpa do you see the threads by the bridge? That’s how you do it
The threads by the bridge need to be positioned correctly to bring out that sound. Pluck a metal string and then move the corresponding cotton thread up and down on the bridge until you achieve that sound
This is a Jiva/Javhari problem. Check out "Tambura 101" videos on TH-cam
why do you say "regretted teacher" in the description? thanks in advance
Hi, new to the Tanpura. Has taken a lot of work to get to where I am. I get good overtone but sustain lacks.
I would like the full sounds harmonics without decaying between strings and hearing the finger plucks. Any ideas?
I have used different threads and in different positions
May be you are plucking wrong? Check out a series of vids called Tambura 101. A set of 5 vids. Very informative.
Who is the current best Professional Tanpura maker in Miraj?
Naeem Sitarmaker or Rajat Satarmaker both are equally great tanpura makers. You may find their TH-cam channel and in any of their videos you can check sound quality and find their numbers in comments of those videos.
I just ordered from G. S. Musicals. Great guy!
hello Sabtak, mail me please!