About my Guru

Smt.Pavana Achar, an accomplished veena artist began the persuit of music as a school going girl. Getting full support and encouragement from her father, Dr.Pallathadka Keshava Bhat; a scientist of international repute; Smt.pavana became a disciple of late smt.Lakshmi iyengar of Manipal.
In addition to pursuing music, she learnt the art of painting under artist Sri Purushothama Karanth of Mangalore. For the past twenty years she has been running a school of music and art known as “Kalaspandana” in Manipal. She has given many public performances in and outside Karnataka. She has given program in Rastrapathi Bhavan when Dr.A.P.J Abdul kalam was our president. A post graduate in medical biochemistry, she has continued with her original passion for music and fine arts. She is married to Sri Balachandra achar, who himelf is an accomplished Mridanga artist.
She also runs a group called Vipanchi balaga since 10 yrs. Vipanchi balaga is a gathering of five veena artists performing simultaneously on the stage. The reverberating sounds produced from “Panchaveena” give a special effect to the surrounding environment and soothes the mind and body of the listener. This group has exposed the discerning public to the devine melodies of veena on diverse occasions like utsavas in temples, festival times like Ganesha chaturthi, Navarathri etc…, Sangeeta sabhas and religious ceremonies like Upanayana, marriage, seemantha etc… all over Karnataka.
The group has the noble objective of carrying on the most valuable asset of the Indian musical tradition. Owing to the inconvenience of transporting the veena across long distances, it has become a rare instrument played on stages. Vipanchi balaga has been trying to promote and propagate the divine melodies of the veena.

Daivee and Manusha veena

From : http://www.theveena.com/daive_and_manushi_veena.html
There are many resemblances between the human body (God made Veena) and man made Veena. These secrets are revealed in a book by name, “SANDHYA VANDANEEYA TATVARTHA” and “VEDA PRAKASIKE” written and published by Mr. YEDA TOREY SUBRAMANYA SARMA in Kannada language in the year 1936.Many secrets of Veena were mentioned in
this book.

A few points are given below:
Veena has 24 frets, 4 strings on the frets and 3 on the side.
The top 1st string Sarani indicates – the RigVeda
2nd string Panchama indicates – YajurVeda
3rd string Mandara indicates – Sama Veda
4th string Anumandra indicates the AtharvaVeda.

All these 4 strings bear the Suddha Satva guna. The 24 frets get their importance by the nada produced from them and not because of the metal used.As we see in the universe the three states viz., creation, sustenance and merger (Srusti, Shiti and Laya) even in Nada we see the same three states.Likewise, the 24 frets representing 12 Sruthees in two octaves (24) indicate the 24 letters (Aksharas) of GAAYATHRI MANTHRA.

“TAT SAVITUR VARENYAMBHARGO DEVASYA DHEEMAHIDHIYO YONAH PRACHODAYAT”

Veena has been compared to human body. The human back-bone (Spinal Chord) stands straight from the Mooladhara (the seat of the body) up to the head.In the top of the head exists the Brahma Randhra. Just like the 24 frets of the Veena, human back bone has 24 divisions.

According to the anatomy, the back bone has 7 cervicles, 12 thorasic and 5 lumbar vertibrays.In Veena the distance between each fret is broad in the lower octaves and becomes less while proceeding towards the higher octaves.Similarly the back bone is thick at the Mooladhara and the distance between each ring becomes less while proceeding towards the Brahma randhra.The Mandara Sthaayi Swara starts from the seat point of the human back bone and as it proceeds towards the Brahma Randhram situated in the Sahasraram, the pitch or sruti increases. It is here, where the life of music is situated.The nada born out of the union of prana (life) and agni (fire) starts from the Mooladhaara at low sruti and reaches the Sahasrakamala crossing the Swaadhisthana, Manipoora, Anaahata, Visuddha, Aagna, the Shadchakras. In this course the sruti (pitch) increases.This shows the resemblance between the Daivi Veena and man made Veena. So it is definite that to attain Moksha nada yoga is a correct path, and for practising nada yoga Veena is an appropriate instrument.Saarngadeva has pointed out, each part of Veena is an abode for a particular deity.

“SARVA DEVA MAYEE TASMATH VEENEYAM SARVA MANGALAA PUNAATI VIPRAHATYADI PATAKAIH PATITAAN JANAAN”

As all the deities reside in Veena it is Sarva Mangala, because all sins are driven away.“INDIRA PATRIKAA BRAHMA TUMBURNAABHIHI SARASWATEE-DORIKO VAASUKIR JEEVAH SUDHAA MSUH SAURIKA RAVIH-The above Verse describes the deities and their places in Veena . G.N.Balasubramanyam in his book ‘Veena’ has said like this:
DANDI – SHAMBHUTANTRI – UMAKUKUBHAM – KAMALAAPATI(POT-KUNDA)PATRIKA – LAKSHMITUMBA – BRAHMANAABHI – SARASWATIDORIKA – VASUKIJEEVALA – MOONFRETS – SUN

Hence Veena is considered to be Moksha dayaka liberating instrument. Many Gods have played many instruments but only Veena has been given such Godly sacred position. According to Sadguru Sri Shivananda Murthy the veena nada becomes a part of our body if played for 120 hours. It means that the nadopaasana done internally (inside the mind or body) and that which is done externally by playing the instrument becomes one, and upasana shakti is generated.Here it is appropriate to remember the Kriti. ‘Meenakshi Me Mudam Dehi’ of Dikshitar. He attained Moksha (liberation) while playing this kriti on veena.

Nada is of two varieties, Ahata Nada and Anahata Nada. The Ahata Nada is one that is born out of the union of Prana (life) and agni (fire).The inner sound that travels from the Navel (Nabhi) to the throat is Anahata Nada. Hence, the teeth and the tongue have no role to play. This Anahatam is the Nadam which pervades the entire universe including inhaling and exhaling. The entire nature is nothing but Nadopasana. Thus the person gets immersed in the nadam, and cuts out the existence of the universe. Hence there is no diversion of mind and life. This is Anahatam.

Sadguru Sri Shivanandamurthy has said that by manipulating, disciplining the shatchakras one can hear the Anahata nadam in the center of the body. This is attaining the first stage through Nadopasana.The second stage is the Brahmadi lokam and the 3rd the Brahmanubhooti. (Salvation-for attaining salvation Pranavopasana is Katha yogam. If examined, this katha yogam is also Nada Brahma Upasana. This Pranavopasana is in the Anahata Chakra (Centre of the chest). This Pranavam (OM) the most inner sound of inhaling and exhaling breath is nothing but the Parabrahmam, the Paramatma. It is this which exists in the Jivatma (soul) and in the Trimurty’s (the paramatma).Thus it is seen as Nada Brahmam. Based on this a human does Pranavopasana in Anahatam and attains salvation. This is the main point in Kathopanishat. When one becomes master of this, Nadam becomes the body. This is what Tyagaraja said in his kriti “NADA TANUMANISAM” and revealed the great secret.

1) “RAGA SUDHA RASA PANAMU CHESIRAJILLAVE ? MANASAYAGA YOGA TYAGA BHOGAPHALA MOSANGEYSADA SIVA MAYAMAGUNADOMKARA SWARAVIDULU JEEVAN MUKTULANUTYAGA RAJU TELIYU” (RAGA SUDHA RASA)
2) “NADA ROOPUDAWANI VININEY SRI NADHANINNU NAMMITINI” (YE PAPAMU CHESITIRA)
3) MOOLA DHARAJA NADA MERUGUTEYMUDAMAGU MOOKSHAMURAKOLAHALA SAPTASWARA GRUHAMULAGURUTEY MOOKSHAMURA? MANASA

The review and analasys of Tyagaraja kritis gives us the knowledge which we can get by studying Brahma-Suthras and Upanishads. To understand Thyagaraya’s Krithees, and playing them on Veena is nothing but yoga, great knowledge of yoga which is the pathway to liberation.Veena consists of all dieties and this itself is the yoga sadhana for attaining salvation. Thus it reveals shiva manovidham SARVAM SIVAMAYAM.

Preserving of musical instrument

As said by Osho

Osho : An ancient story is…. In India there are very refined instruments of music; nowhere else in the world has such refinement happened. Just one single man — who lives in the Himalayas and comes once in a while to the plains — plays a special veena which used to exist in the past. And many musicians used to play it, but now only one person knows how to play it. It is called rudra veena. Rudra is another name of Shiva; Shiva used to play it. To play it needs such a long discipline, four or five hours’ practice every day for years; then only can you bring those subtle notes out of it.

The ancient story is that in one house there was a strange musical instrument which had been there for generations. Nobody knew what to do with it, and it was a nuisance. It had to be cleaned, dust would gather on it, and it was taking up space in the room. And sometimes in the middle of the night a rat would jump on it and create noise. Finally they decided, “It is useless for us; it is better to get rid of it.” So they went out and threw it on the garbage pile by the side of the road.

They had not even reached back home and they heard such sweet music… they had never even imagined. So they turned back — a beggar was playing the instrument, and a crowd had gathered. The beggar knew, he was a musician, but a musician of such old and ancient instruments that even to find people who could understand it was difficult, so there was no possibility for him to earn anything. He had become a beggar so that he could continue discovering old, ancient instruments about which we have completely forgotten.

And as he saw this instrument he could not believe it, because he had been in search of this instrument for years. There was utter silence in the crowd — everybody who was passing on the road stopped. The people of the house came back, and when he stopped playing they said, “That instrument belongs to us.”

The beggar said, “Remember one thing: a musical instrument belongs to one who knows how to play it, there is no other kind of ownership. You have thrown it in the garbage. You have insulted an immensely valuable thing.

“And what will you do with it? Again it will gather dust and you will have to clean it. Again rats will make noise in the night and disturb your sleep.

This instrument can be played only if one knows how to play a few other instruments. They are the steps, and this is the end, and I have been searching for it. All other instruments I have found, but this, the final instrument, was missing. You cannot claim ownership of it. “If you can play it here, before the crowd, it is yours. Otherwise, it belongs to me.” Music is not property; it is art, it is love. It is devotion, it is prayer. You cannot possess it.

The same is my feeling about your being. You have it, but you don’t possess it because you don’t know how to play the instrument of your being. All that you know is the mind, which is only a vehicle; the heart, which is only a vehicle. But they are empty. Your thinking leads nowhere. Your heart remains at the point of lust, and never gets to know love. Search for your being and everything else will follow it on its own accord. You don’t have to drop anything — you cannot drop anything. They are your innermost qualities; they will radiate on their own. Your heart will be full of love; your mind will be full of intelligence.

Different schools in studying Veena

During the last two centuries, the four southern linguistic areas have evolved their distinct style (bani) of Vina playing i.e., Tanjavur, Andhra, Mysore and Kerala, and each school boasts of eminent Vina players like Dhanammal and the Karaikudi brothers (Tanjavur bani), Sangameswara Sastri and Venkatramana Das (Andhra bani), Subbanna and Seshanna Bhagavatar (Mysore bani and Kalyanakrishna Bhagavatar (senior, Kerala bani). The characteristics of each school have been passed on to the next generation through the guru-sishya parampara (teacher-student tradition). At the same time, an individual musician’s attitude and perceptions also strongly operate to create variations in the fingering technique within the same tradition. In more recent times, we have the example of the gifted Vina player, late S Balachander evolving his own style, largely out of his own inspiration and perspiration.

Veena and its divinity

Legends have it that Sage Agastya was also a Vina exponent and once had a competition with Ravana in Vina, wherein Maha Meru stood in judgement. Lankeswara Ravana, who was musically inclined, was also an accomplished Vina player. As per legend, to appease Lord Siva, he once cut one of his heads and also his body nerves, made a Vina and played Samagana.

In the 66th sloka of the Soundarya Lahari, there is beautiful anecdote which goes thus. Once, Goddess Saraswati is singing the praises of Pasupati through her Vina in the presence of Devi Parvati, who at an exhilarated moment vocally exclaims at the beauty of the music. That simple exclamatory ‘Aaha’ of Devi is sweeter than the music itself, making Saraswati blush and stop playing and she silently wraps her instrument.

In Lalitha Sahasranamam, Lord Hayagreeva refers to the same incident in sloka 11, by saying ‘Nija Sallapa Madhurya Vinirbhartsita Kacchapi’. Mahakavi Kalidasa is believed to have commenced his poetic streaks with his famous ‘Manikkya Vinam Upalayantim’. In Rajarajeswari Ashtakam, Adi Sankara has mentioned ‘Vinavenu vinoda manditakara veerasana samasthita’.

Coming to Tamil literature, perhaps an early reference can be traced to Tiruvalluvar’s well-known Tirukkural in verses 66 and 279, wherein the pure Tamil word Yazh is used to refer to Vina. In the 70th song of Abhirami Andadi, Bhattar extols the beauty of Goddess Parasakti who is seen by him, among other things, with a Vina in her hands.

Talking of legends, one very important personality who needs mention, in a discussion on Vina, is Guru Raghavendra of Mantralaya. There is a story that he sang his own Bhairavi composition ‘Indu enage Govinda’, playing Vina just before entering Brindavana, for which song, his golden vigraha (idol) of Santanagopalamoorty came alive and danced in full public view. This happened just about 300 years ago.

The history

It is also indicative that in Vedic literature, different kinds of veenas have been mentioned and most post Sangeetha Rathanakara writers of music have described the characteristics of different kinds of veena in their works.

Music lovers in South India should be interested to know that the Kudimiyan Malai inscription near Pudukottai mentions the Sapta Thanthri (seven strings) Veena, during the Pallava Kingdom.

The Indian veena has always been considered an instrument of the gods, hence the name ‘Divine Instrument’. The flute is inseparably connected with Lord Krishna and the mridangam is associated with Brahma, Nandhi and even Vishnu. The veena is stated to be a companion of Saraswathi, Narada and Shiva. In fact, the very name of our veena is ‘Saraswathi Veena’. Lord Shiva is also depicted as being fond of the music produced by a veena. He is described as the ‘Veena Vadana Loludu’ by Thyagaraja in his song Mokshamu Galada. In this aspect, Shiva is known as Veena Dakshinamoorthy. Divine Sage Narada’s veena was known as Mahati.

It is interesting to note that there was a royal patronage for the veena. Samudra Gupta was a veena exponent and the Pallava kings were also veena players. From Bharatha Muni to Subburama Dikshitar, we find that the music theory is explained with the aid of a veena, the reason being that musical phenomena like sruthi and gamakas cannot be explained with the help of wind instruments like the flute or nadaswaram. Earlier, all important aspects of Carnatic Music like Swarasthanas, Thala Nirnayas, playing technique and Raga Lakshanas were explained through the medium of the veena alone.

It is a well-known fact that Dikshitar was a great votary of the veena and was a Vainika-Gayaka. His two brothers were also great exponents of music. The 20th century produced many illustrious maestros from different parts of South India like Vijayanagaram, Mysore, Tanjore and Trivancore who developed their own styles of play.

It is evident that the unique musical instrument veena, which traverses many centuries from the Rig Vedic period to present day, is perennial and celestial. Naturally, the veena is an instrument par excellence of the Indian music and is a true symbol of Indian culture.

Different names of Veena

Ancient scriptures and literature reveal that Sage Narada who is believed to have blessed Tyagaraja with his treatise on Sangeeta Sastra was himself an exponent in Vina and played an instrument called Mahati. It is intresting to note that the scriptures and Purana-s have called Vina by various names. Saraswati’s Vina has been referred to by names like Vipanchi, Kacchapi, Vaiki etc; Vishuavasu’s Vina has been called as Brihas, and Tumburu’s as Kalavati.

VALLAKI, MANIKYA VEENA of Shankaracharya’s references, KACHCHAPI Veena of Saraswathi, MAYURI Veena referred by Kalidasa, SHATHATHANTHRI Veena etc. The present type is the innovation of 24 frets & 7 strings of Govinda Dixithar (1614 of Thanjavur). This is to facilitate to play infinite varieties of Ragas & specially the 72 melakartha ragas or more. Hence it is known as GAYATHRI VEENA, SAPTHANAADI VEENA or SARVA RAAGAMELA VEENA.
Since various forms of deities have been established at various positions, it is also known as SARVADEVAMAYA & SARVAMANGALA Veena.

Goddess Saraswathi

The Goddess Saraswati  is the Goddess of speech, music and knowledge. She is seated on a lotus denoting the heart. In Her right hand, the rosary (akshamala) represents the alphabets of a language (Sanskrit). The musical instrument (Veena) represents the spinal cord important in physical, emotional and spiritual aspects of life. The book in Her left hand denotes the knowledge. The swan as Her vehicle represents the devotee. The peacock signifies the joy of knowledge. She is clad in white cloths to indicate the purity in pursuit of knowledge. Thus we can see that deity worship is an important means to internalize and develop the spiritual insight.

Veena used in yagna and yagas

Among the Indian instruments, Veena is one of the most revered and ancient instruments. There is reference to Veena from Vedic times where, it is said that during the “Yagnas”, when the shlokas were being recited, the wife of the head priest accompanied him on the Veena. There have been many forms of Veena over the time like Mahati, Kinnari etc. As music evolved over time, instruments too evolved to keep up with the music. Currently, Rudra Veena and Saraswati Veena are two of the most popular Veenas.

Even now a days Veena concert will be held during yagnas and pooja and also during some of the samskaras like seemantha(a traditional ritual held during pregnancy), upanayana, vivahaa(marriage)  etc… Veena concert also is held in temples during festival times especially in navarathri.

One of the reasons for Veena’s exalted status is that it’s musical notes are considered most auspicious and therapeutic, thus aiding the spiritual and physical well being of the listener. This is borne out by the fact that Veena musical notes are the first ones raised as the altar door is opened every day in the early hours at Lord Sri Ranganatha’s temple at Srirangam, India. It is still the custom in most of the house holds of South India to have women in advanced pregnancy hear melodious Veena music for their welfare and for the welfare of the soon to be born..

However, VEENA still retains its supremacy of traditional classical music instruments, perhaps due to its scientific attractive structure, spiritual sanctity, abundance of rich harmonics, gamakas, continuity of sound, very closeness to human voice (vocal music) etc. This perfect instrument incorporates all the three basic components of music, i.e., SHRUTHI, LAYA & RAGA. Even now it is also considered as the best and most suitable, accompaniment for classical vocal music concerts and Bharathanatyam programmes, specially in Tamilnadu, Kerala etc.

Evolution of the Veena

The evolution of the veena can be studied under different categories…
1) The varieties of veenas mentioned in sacred literatures.
2) The number of parts and their dimensions
3) The shape of the resonators
4) The number and kind of frets
5) The systems of tuning
6) The purposes for which the veenas were used.

The veena went through a very extensive period of evolution and it can be summed up in seven main stages.

First there was the Harp stage. When the primitive man was hunting with his bow and arrow, heard the sound emerging from the string of the bow and was fascinated by it. This fascination lead to the creation of the musical bow by tying strings of different lengths to the same bow that produced different sounds when plucked and became the Harp. But unlike the Western harp, the Indian one had no front pillar.

Then came the harp with a resonator where a gourd was fixed to the bow to amplify the sound.

Then came the tuning pegs. The strings were tied to the pegs on one end and to the bow on the other end that made it possible for the player to increase or decrease the tension of the strings by turning the pegs. Then the idea of pressing the string at various places to produce different sound came and the Lute emerged.

Then around the 8th century the first veena with two large gourds emerged and it can be seen in the painting in Ellora caves.

The fifth stage of the evolutionary process was the discovery of veenas with plain fingerboard without frets and were played with a bow or by plucking. These veenas are called Nissari Veena. These can be seen in paintings in Ajantha caves.

The next stage was the veenas with frets for the left half of the fingerboard. These were called the Saari Veena and can be seen in South India’s Halebid and Belur sculptures.

Then came the modern veena, the one that is used widely today. This is the veena with 24 fixed frets and a Meru (the first fret to produce the first note Sa). This was attributed to Govinda Dikshitar, the minister to the ruler of Tanjore (a city in South India that is known as the musical seat of Southern India), Raghunatha Nayak and for that reason this veena is also called the Tanjore Veena. This allows the player to play two octaves on a single string.

The Tanjore veenas have two major varieties, the Ekanta or veenas carved out of single piece of wood and the ottu or veenas that are made from three pieces and joined together. These veenas are made out of wood from a tropical tree called the Jack Fruit tree. The reasons for this choice of wood are the abundant availability and their resistance to termites. Veenas are also made in Mysore, Trivandrum and Andhra Pradesh in South India. In Mysore and Trivandrum Rose wood is used to make veenas.

Recent electrical detachable version has, one support containing shruthi box, another support (instead of wooden hemisphere) containing an amplifier system connected to a pickup microphone, and the 24 frets are fitted with nuts & bolts, to brass rails on the “dandi”, for easier mela adjustments and maintenance as the wax requires frequent replacements, by experts at a very high cost. This is more convenient for the artist to monitor the volume of sound during veena recital. This can be directly connected to the amplifier system without inconvenient microphones.

Thus we see that that the structure and form of the instrument keeps evolving and changing over the ages.