CHIMPTA (CHIMTA)
(MUSICAL FIRE TONGS)
The chimpta is actually a fire tong. However, it has evolved into a musical instrument by the permanent addition of small brass jingles. This instrument is especially popular in Punjabi folk music and the Sikh religious music known as Shabad.
Selected Vedio
(MUSICAL FIRE TONGS)
The chimpta is actually a fire tong. However, it has evolved into a musical instrument by the permanent addition of small brass jingles. This instrument is especially popular in Punjabi folk music and the Sikh religious music known as Shabad.
Selected Vedio
INDIAN MUSICAL INSTRUMENTS
There are many musical instruments in India. Some instruments are used primarily in north Indian music (Hindustani sangeet), some are used in the south Indian music (Carnatic sangeet), while others are found in folk music. Instrumental music is usually similar to vocal music but sometimes there are distinctive instrumental styles.
There is a traditional system for the classification of instruments. This system is based upon; non-membranous percussion (ghan), membranous percussion (avanaddh), wind blown (sushir), plucked string (tat), bowed string (vitat). Here are the classes and representative instruments.
NON-MEMBRANOUS PERCUSSIVE (Ghan)
This is one of the oldest classes of instruments in India. This class is based upon percussive instruments which do not have membranes, specifically those which have solid resonators. These may be either melodic instruments or instruments to keep tal.
* Chimpta
* Ghatam
* Ghungharu
* Jal Tarang
* Kartal
* Kasht Tarang
* Manjira
* Nout
* Murchang
BLOWN AIR (Sushir)
This class of instrument is characterized by the use of air to excite the various resonators.
* Bansuri
* Bombashi
* Harmonium
* Mukhavina
* Nadaswaram
* Ottu
* Pungi
* Shankh
* Shehnai
* Surpeti
PLUCKED STRINGED INSTRUMENTS (Tat)
This class of instruments is characterized by plucked strings. In ancient times virtually all instruments of this class were referred to as vina.
* Bulbul Tarang
* Dotar #1
* Dotar #2 (Dotora)
* Ektar
* Getchu Vadyam (Gettuvadyam)
* Gopichand (ektar)
* Gotuvadyam
* Katho
* Magadi Vina
* Nakula Vina
* Rabab (Kabuli Rabab)
* Rudra Vina
* Saraswati Vina (South Indian Vina)
* Santur
* Sarod
* Seni Rabab
* Sitar
* Surbahar
* Surmandal
* Swarabat (Swaragat)
* Tanpura
* Vichitra Vina
BOWED-STRINGED INSTRUMENTS (Vitat)
This is a class of stringed instruments which are bowed. This class appears to be quite old, yet these instruments did not occupy a place in classical music until the last few centuries. The entire class of instruments has a certain stigma attached to it. Even today only the Western violin is free of this stigma.
* Chikara
* Dilruba
* Esraj
* Kamancha
* Mayuri Vina
* Pena (a.k.a. Bana)
* Ravanhasta
* Sarangi
* Saringda
* Tar Shehnai
* Violin
MEMBRANOUS PERCUSSIVE (Avanaddh)
This is a class of instruments which have struck membranes. These typically comprise the drums.
* Chenda
* Daf (Duf, Daphu, Daffali)
* Damaru
* Dhol
* Dholak
* Dholki (Nal)
* Idakka and Udaku (Udakai)
* Kanjira
* Khol (Mridang)
* Maddal
* Mridangam
* Nagada
* Pakhawaj
* Pung
* Shuddha Madalam
* Tabla
* Tabla Tarang
* Tasha
* Tavil
* Thanthi Panai
* Tumbak
We have given a brief overview of the Indian instruments. We mentioned that the instruments fall into five categories: ghan (non-membranous percussion), sushir (wind blown), tat (plucked stringed), vitat (bowed stringed) and avanaddh (membranous percussion). Within these five classes there are a large number of individual instruments.
There are many musical instruments in India. Some instruments are used primarily in north Indian music (Hindustani sangeet), some are used in the south Indian music (Carnatic sangeet), while others are found in folk music. Instrumental music is usually similar to vocal music but sometimes there are distinctive instrumental styles.
There is a traditional system for the classification of instruments. This system is based upon; non-membranous percussion (ghan), membranous percussion (avanaddh), wind blown (sushir), plucked string (tat), bowed string (vitat). Here are the classes and representative instruments.
NON-MEMBRANOUS PERCUSSIVE (Ghan)
This is one of the oldest classes of instruments in India. This class is based upon percussive instruments which do not have membranes, specifically those which have solid resonators. These may be either melodic instruments or instruments to keep tal.
* Chimpta
* Ghatam
* Ghungharu
* Jal Tarang
* Kartal
* Kasht Tarang
* Manjira
* Nout
* Murchang
BLOWN AIR (Sushir)
This class of instrument is characterized by the use of air to excite the various resonators.
* Bansuri
* Bombashi
* Harmonium
* Mukhavina
* Nadaswaram
* Ottu
* Pungi
* Shankh
* Shehnai
* Surpeti
PLUCKED STRINGED INSTRUMENTS (Tat)
This class of instruments is characterized by plucked strings. In ancient times virtually all instruments of this class were referred to as vina.
* Bulbul Tarang
* Dotar #1
* Dotar #2 (Dotora)
* Ektar
* Getchu Vadyam (Gettuvadyam)
* Gopichand (ektar)
* Gotuvadyam
* Katho
* Magadi Vina
* Nakula Vina
* Rabab (Kabuli Rabab)
* Rudra Vina
* Saraswati Vina (South Indian Vina)
* Santur
* Sarod
* Seni Rabab
* Sitar
* Surbahar
* Surmandal
* Swarabat (Swaragat)
* Tanpura
* Vichitra Vina
BOWED-STRINGED INSTRUMENTS (Vitat)
This is a class of stringed instruments which are bowed. This class appears to be quite old, yet these instruments did not occupy a place in classical music until the last few centuries. The entire class of instruments has a certain stigma attached to it. Even today only the Western violin is free of this stigma.
* Chikara
* Dilruba
* Esraj
* Kamancha
* Mayuri Vina
* Pena (a.k.a. Bana)
* Ravanhasta
* Sarangi
* Saringda
* Tar Shehnai
* Violin
MEMBRANOUS PERCUSSIVE (Avanaddh)
This is a class of instruments which have struck membranes. These typically comprise the drums.
* Chenda
* Daf (Duf, Daphu, Daffali)
* Damaru
* Dhol
* Dholak
* Dholki (Nal)
* Idakka and Udaku (Udakai)
* Kanjira
* Khol (Mridang)
* Maddal
* Mridangam
* Nagada
* Pakhawaj
* Pung
* Shuddha Madalam
* Tabla
* Tabla Tarang
* Tasha
* Tavil
* Thanthi Panai
* Tumbak
We have given a brief overview of the Indian instruments. We mentioned that the instruments fall into five categories: ghan (non-membranous percussion), sushir (wind blown), tat (plucked stringed), vitat (bowed stringed) and avanaddh (membranous percussion). Within these five classes there are a large number of individual instruments.
Jalandhara Bandha - Net-Bearer Bond
(jah-lahn-DHA-rah bahn-dah)
jala = net (for catching birds or fish)
dhara = bearing, supporting
bandha = bond
Step by Step
1) Sit in a comfortable pose.
2) Firm your shoulder blades against your back torso to lift your sternum. Be careful not to push your front ribs forward.
3) Full Jalandhara requires the chin to rest comfortably on the sternum (neck flexion). Many beginners make the mistake of only lowering the chin; in fact your chin should be met half-way by the elevated sternum.
4) The focus of these complementary movements is the "crook" of the throat, where the underside of the chin meets the front of the neck. Draw this crook diagonally up and into your skull (toward the top of your spine). Your head should pivot and your chin should descend over this action, which simultaneously draws the top of the sternum upward.
5) Work on lengthening the back of your neck, releasing your shoulders, and opening your chest in poses like Sarvangasana and Setu Bandha Sarvangasana. Never force your chin to your sternum.
6) If you're a beginner, don't hold this bandha continuously throughout your practice. Begin your inhalation with your head upright. Apply Jalandhara as you near the end of the inhale, hold during the retention and the exhale, then raise your head to a neutral position for the next inhale.
Source : yogajournal.com
(jah-lahn-DHA-rah bahn-dah)
jala = net (for catching birds or fish)
dhara = bearing, supporting
bandha = bond
Step by Step
1) Sit in a comfortable pose.
2) Firm your shoulder blades against your back torso to lift your sternum. Be careful not to push your front ribs forward.
3) Full Jalandhara requires the chin to rest comfortably on the sternum (neck flexion). Many beginners make the mistake of only lowering the chin; in fact your chin should be met half-way by the elevated sternum.
4) The focus of these complementary movements is the "crook" of the throat, where the underside of the chin meets the front of the neck. Draw this crook diagonally up and into your skull (toward the top of your spine). Your head should pivot and your chin should descend over this action, which simultaneously draws the top of the sternum upward.
5) Work on lengthening the back of your neck, releasing your shoulders, and opening your chest in poses like Sarvangasana and Setu Bandha Sarvangasana. Never force your chin to your sternum.
6) If you're a beginner, don't hold this bandha continuously throughout your practice. Begin your inhalation with your head upright. Apply Jalandhara as you near the end of the inhale, hold during the retention and the exhale, then raise your head to a neutral position for the next inhale.
Source : yogajournal.com
Svara Yoga Pranayama- Yoga of Sound Breath
(s-VAR-ah)
svara = sound, air breathed through the nostrils
Step by Step
1) Traditionally the five "elements" that make up our body-mind (and the entire material universe)-earth, water, fire, air, "ether"-are each energetically associated with a fixed point on the linings of our nostrils. So it's possible to influence and transform our body-mind by channeling our breath over or away from these points. .
2) This exercise is a variation of the traditional teaching, since our two points are non-traditional and not elementally potent, and our immediate goal is simply to become better acquainted with our breath. These points (two in each nostril) are the "inner nostril" just beside the septum, and the "outer nostril," underneath the "wing" (ala) of the nose.
3) Sit comfortably and attend to your breath as it passes in and out through your nostrils. It's likely you'll feel a difference between the two; your inhale, for example, is touching your right nostril near the septum, but your left nostril below the wing.
4) Watch for a minute or two, then begin to channel (or "narrow") your inhales across your inner nostrils. Continue for a minute or two.
5) After breathing normally for 30 seconds, begin to channel (or "widen") your exhales beneath s your outer nostrils, "widening" your breath. Again continue for a minute or two, then return to normal breathing for 30 seconds.
6) Finally combine the inner and outer breaths and breath slowly for a few minutes. You can practice this version of Svara Yoga during Ujjayi or Kapalabhati (on the exhale).
Source : yogajournal.com
(s-VAR-ah)
svara = sound, air breathed through the nostrils
Step by Step
1) Traditionally the five "elements" that make up our body-mind (and the entire material universe)-earth, water, fire, air, "ether"-are each energetically associated with a fixed point on the linings of our nostrils. So it's possible to influence and transform our body-mind by channeling our breath over or away from these points. .
2) This exercise is a variation of the traditional teaching, since our two points are non-traditional and not elementally potent, and our immediate goal is simply to become better acquainted with our breath. These points (two in each nostril) are the "inner nostril" just beside the septum, and the "outer nostril," underneath the "wing" (ala) of the nose.
3) Sit comfortably and attend to your breath as it passes in and out through your nostrils. It's likely you'll feel a difference between the two; your inhale, for example, is touching your right nostril near the septum, but your left nostril below the wing.
4) Watch for a minute or two, then begin to channel (or "narrow") your inhales across your inner nostrils. Continue for a minute or two.
5) After breathing normally for 30 seconds, begin to channel (or "widen") your exhales beneath s your outer nostrils, "widening" your breath. Again continue for a minute or two, then return to normal breathing for 30 seconds.
6) Finally combine the inner and outer breaths and breath slowly for a few minutes. You can practice this version of Svara Yoga during Ujjayi or Kapalabhati (on the exhale).
Source : yogajournal.com
Kapalabhati Pranayama- Skull Brightener Breath
(kah-pah-lah-BAH-tee)
kapala = skull
bhati = light (implying perception, knowledge)
Step by Step
Kapalabhati consists of alternating short, explosive exhales and slightly longer, passive inhales. Exhales are generated by powerful contractions of the lower belly (between the pubis and navel), which push air out of the lungs. Inhales are responses to the release of this contraction, which sucks air back into the lungs.
Focus on your lower belly. Many beginners aren't able to isolate and contract this area. If needed, cup one hand lightly in the other and press them gently against your lower belly.
Now quickly contract (or pump your fisted hands against) your lower belly, pushing a burst of air out of your lungs. Then quickly release the contraction (or your hands), so the belly "rebounds" to suck air into your lungs. Pace yourself slowly at first. Repeat eight to 10 times at about one exhale-inhale cycle every second or two.
As you become more adept at contracting/releasing your lower belly, you can increase your pace to about two exhale-inhale cycles every second. Imagine the exhale sweeping out or "brightening" the inner lining of your skull.
Do 25 to 30 cycles at first. Gradually increase the number of cycles you do each practice to 100 or more.
Source : yogajournal.com
(kah-pah-lah-BAH-tee)
kapala = skull
bhati = light (implying perception, knowledge)
Step by Step
Kapalabhati consists of alternating short, explosive exhales and slightly longer, passive inhales. Exhales are generated by powerful contractions of the lower belly (between the pubis and navel), which push air out of the lungs. Inhales are responses to the release of this contraction, which sucks air back into the lungs.
Focus on your lower belly. Many beginners aren't able to isolate and contract this area. If needed, cup one hand lightly in the other and press them gently against your lower belly.
Now quickly contract (or pump your fisted hands against) your lower belly, pushing a burst of air out of your lungs. Then quickly release the contraction (or your hands), so the belly "rebounds" to suck air into your lungs. Pace yourself slowly at first. Repeat eight to 10 times at about one exhale-inhale cycle every second or two.
As you become more adept at contracting/releasing your lower belly, you can increase your pace to about two exhale-inhale cycles every second. Imagine the exhale sweeping out or "brightening" the inner lining of your skull.
Do 25 to 30 cycles at first. Gradually increase the number of cycles you do each practice to 100 or more.
Source : yogajournal.com
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