Veena

Veena is Classical Indian Tradition. Different kinds of Veenas such as Hans, Vana, Godha, Kandha, Jaluka, Alambu, Kapisirshini, Karkari, Picchola, Vakra, Sila, Satantantri and Audumbari are mentioned by ancient classical Texts, Samhita, Aranykas and Brahmanas. In the Pauranic texts, Ramayana and the literary and scholarly works of Kalidasa and Bana, we find other types of Veenas. Sarangadeva, Somnatha, Nijaguna Sivayogi, Sudhakalasa have also mentioned various other types of Veenas in their works. In the Upanishads we find the daand of the Veena being compared to the Human Spinal Column while each vertebrae is compared with the Veena frets.

Veena is closely linked to the human vocal traditions. Rig Veda and Yajur Veda are sung in the tri-swarya music while the Sama Veda is sung in the sapta swara. Gatra Veena Paddhati or the Voice Veena Method is the method of denoting the swara in the Sama Gana. Many vocal performers use Veena as defacto accompanist instrument. Beside this some use Been while singing Khayal or the Dhruva Padas.

Rudra Veena Construction

Mere replication of the parts of the Veena and its assembly cannot give us an excellent resonating instrument. Rudra Veena or Been making is an art that needs to be mastered for years through application of the principles of Been acoustics.

Rudra Veena Acoustics

Rudra Veena differs from most of the instruments because of its unique tabular acoustical structure which differ from well known instruments with flat sound boards. Some work is done by Shri Suvir Misra on the acoustics, construction and playing techniques of Rudra Veena, Surbahar and the Carnatic Saraswati Veena. He is one of the few left hand practitioners of the Veena family of Indian Lute.