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The tambura, tanpura, tamboura or taanpura is a long-necked plucked lute (a stringed instrument found in different forms and in many places). The body shape of the tambura somewhat resembles that of the sitar, but it has no frets – and the strings are played open. One or more tamburas may accompany other musicians or vocalists. It has four or five (rarely six) wire strings, which are plucked one after another in a regular pattern to create a harmonic resonance on the basic note (bourdon or drone function).

Tamburas come in different sizes and pitches: larger "males", smaller "females" for vocalists, and a yet smaller version is used for accompanying sitar or sarod, called tamburi or tanpuri. Male vocalists pitch their tonic note (Sa), often to about C♯; female singers usually a fifth higher, though the tonic may be any note, as there is no absolute pitch in the Indian classical music systems. The male instrument has an open string length of approximately one metre; the female is three-fourths of the male. The standard tuning is 5-8-8-1 (sol do' do' do) or, in Indian sargam, PA-sa-sa-SA. For ragas that omit the fifth, the first string is tuned down to the natural fourth: 4-8-8-1 or Ma-sa-sa-Sa. Some ragas require a less common tuning with shuddh NI (one semitone

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below octave sa), NI-sa-sa-SA. With a five-string instrument, the seventh or NI (natural minor or major 7th) is added: PA-NI-sa-sa-SA (5-7-8-8-1)or MA-NI-sa-sa-SA (4-7-8-8-1).

The name tanapura is probably derived from tana, referring to a musical phrase, and pura, which means "full" or "complete". Both in its musical function and how it works, the tambura is unique in many ways. It does not partake in the melodic part of the music, but it supports and sustains the melody by providing a colourful and dynamic harmonic resonance field based on one precise tone, the basic note or key note. Also, it is not played in rhythm with the music. Its tempo is independent of the music it supports, and the speed of playing may vary throughout a performance or remain relatively constant, at the discretion of the player.

The special overtone-rich sound is achieved by applying the principle of jivari, which creates a sustained "buzzing" sound in which particular harmonics will resonate with focused clarity. Jiva refers to "soul", that which gives life, implying that the tambura embodies an "animated" tone quality. The principle of jivari can be likened to the prismatic refraction of white light into the colours of the rainbow, as its acoustic twin principle at work.[citation needed]

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To achieve this effect, the strings pass over a wide, arched bridge, the front of which slopes gently away from the surface of the strings. When a string is plucked, it has intermittent periodical contact with the bridge; this intermittent grazing of the string and bridge is not a static process, as the points of contact will gradually shift, being a compound function of amplitude, the curvature of the bridge, and string tension. When the string is plucked, it has a large

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amplitude, moving up and down and contacting the bridge on the down-phase. As the energy of the string's movement gradually diminishes, the contact point of the string with the bridge slowly creeps up the slope to the top of the bridge, finally resting at the top of the bridge. Depending on scale and pitch, this can take between three and ten seconds. This dynamic process can be fine-tuned using a cotton thread between string and bridge: by shifting the thread, the grazing contact is shifted to a different position on the bridge, changing the harmonic content. Every single string produces its own cascading range of harmonics and, at the same time, builds up a particular resonance. According to this principle, tamburas are attentively tuned to achieve a particular tonal shade relative to the intonation-related qualities of the raga.

These more delicate aspects of tuning are directly related to what Indian musicians call raga svaroop, which is about how characteristic intonations strengthen the tonal impression of a particular raga. The tambura's particular setup, with its adjustable bridge, made it possible to explore a multitude of harmonic relations produced by the subtle harmonic interplay of four strings.

Tamburas are designed in three different styles:

Miraj style: the favourite form of tanpura for Hindustani performers. It is usually between three to five feet in length, with a well-rounded resonator plate (tabli) and a long, hollow straight neck. The round lower chamber to which the tabli, the connecting heel-piece and the neck (dandh) are fixed is actually a selected and dried gourd (tumba). Wood used is either tun or teak; bridges are usually cut from one piece of bone.

Tanjore style: this is a south Indian style of tambura, used widely by Carnatic music performers. It has a somewhat different shape and style of decoration from that of the miraj, but is otherwise much the same size. Typically, no gourd is used, but the spherical part is gouged out of a solid block of wood. The neck is somewhat smaller in diameter. Jackwood is used throughout; bridges are usually cut from one piece of rosewood. Often, two rosettes are drilled out and ornamented with inlaywork.

Tamburi: small-scale instruments, used for accompanying instrumental soloists. It is two to three feet long, with a flat bed-pan type wooden body with a slightly curved tabli. It may have from four to six strings. Tamburi are tuned to the higher octave and are the preferred instruments for accompanying solo performances by string-playing artists, as the lighter, more transparent sound does not drown out the lower register of a sitar, sarod, or sarangi.

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Just like the Sitar the Tanpura is one of the long neck lutes. It is usually stringed with 4 or 5 metal strings (rarely with 6 strings) and it is a basic note instrument and as such an important component in classical Indian music. They are tuned to the basic note and its fifth and octave. The strings are only plucked. A characteristic feature of the Tanpura is its sound that is very rich in overtones and the special rich sound effect that is produced by the constant playing of the individual strings and which has an intensive effect on the listener. The Tanpura is thus not only an ideal accompaniment for traditional Indian music, but also an ideal companion for musical meditation, overtone singing or modal improvisation.

Like for the other instruments TARANG offers a wide range of northern Indian Tanpuras of different leading instrument makers. All Tanpuras are handmade unique objects and not instruments from industrial mass production. For this reason, all indications of size and design are only clues and not binding assurances. Also for Tanpuras we can fulfill your special wishes in cooperation with an instrument maker. Please contact us if you have special ideas.

MATERIALS AND FEATURES OF A TANPURA

The Indian Tun wood is mostly used for building a Tanpura. It is an Indian variety of the well-known teak wood. The instruments receive a shellac varnish using natural pigments. Yellowish to reddisch shades are the rule. These come in different lightness and range from transparent to almost black. Simple Tanpuras usually have decorative borders of celluloid and plain celluloid inlays as well as woodcarvings at the resonance boxes, turned pegs and fine tuners mostly of plastic. De luxe models stand out through their eloborate inlaid works in the cover as well as carved wooden pegs. The fine tuners are usually swan-shaped. All in all there is a better quality of material and workmanship.

POSSIBLE TUNINGS OF TANPURAS

By using strings of different thickness, the tuning of the Tanpura can be varied to a limited extent.

The standard tuning of a Tanpura consists of fifth, octaves and basic note. In the following examples other possibilities of traditional tuning of a Tanpura are listed when a Raga, that is accompanied, does not have a fifth. In addition, we have listed some more tuning examples for 5-string and 6-string Tanpuras. The creative scope of musicians in tuning their Tanpura, however, is hardly limited at all. Independent of the traditional Indian guidelines any tuning is possible.

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4-stringed Tanpura:Standard tuning: fifth - octave - octave - basic note1st alternative: fourth - octave - octave - basic note2nd alternative: seventh - octave - cotave - basic note3rd alternative: sixth - octave - octave - basic note

5-stringed Tanpura:Standard tuning: fifth - octave - octave - octave - basic note1st alternative: fourth - octave - octave - octave - basic note2nd alternative: seventh - octave - octave - octave - basic note3rd alternative: sixth - octave - octave - octave - basic note4th alternative: fifth - seventh - octave - octave - basic note5th alternative: fourth - seventh - octave - octave - basic note6th alternative: fourth - sixth - octave - octave - basic note

6-stringed Tanpura:Standard tuning: fifth - octave - octave - octave - octave - basic note1st alternative: fourth - octave - octave - octave - octave - basic note2nd alternative: seventh - octave - octave - octave - octave - basic note3rd alternative: sixth- octave - octave - octave - octave - basic note4th alternative: fifth - seventh - octave - octave - octave - basic note5th alternative: fourth - seventh - octave - octave - octave - basic note6th alternative: fourth - sixth - octave - octave - octave - basic note

PLAYING TECHNIQUE OF THE TANPURA

A Tanpura can be held and played upright resting either on the lap or on the floor, or horizontally on the lap or on the floor in front of the player. The classical playing technique requires to put the thumb of the playing hand to the neck of the Tanpura so that it serves as a support. The fingers should be placed parallel to the middle part of the strings. Then the 1st string is plucked with the middle finger and the 2nd, 3rd and 4th strings with the index finger. The plucking is done by the soft insides of the fingertips so that the plucking is more like a soft stroking of the strings. The string should be set resonating softly without an audible touch. The strings are plucked in a regular rhythm but after the touch of the 4th string there should be a slightly longer pause before the 1st string is played again. This gives the 4th string the opportunity to echo a little longer. The playing rhythm should not sound too mechanical or uniform. It is important to convey the impression of a freely floating, lively vibration.

The Tanpura is in Indian music a fundamental, elementary instrument. It does not come to the fore so much, but connects all the instruments involved by its sound tapestry in an unobtrusive way. Thus it contributes to a unified musical experience.

 

DIFFERENCES BETWEEN THE TYPES OF TANPURAS

There are three main categories of Tanpuras, which vary in shape, size, structure, basic tuning and use:

Instrumental TanpuraThe instrumental Tanpuras with a length between 95 and 115 cm are the smallest Tanpuras. They are stringed with 5 thin steel strings and have, compared to the other two Tanpura categories, a flat wooden resonance box and neck. The sound can be described as clear silvery. The characteristic tuning of an instrumental Tanpura is around middle C. Instrumental Tanpuras are used in Indian music for example in Sarod or Sitar concerts.

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Male TanpuraThe male Tanpuras with a length of 140 - 150 cm are the longest Tanpuras. Their whole build is generally more voluminous. This allows a low tuning around low C. The characteristic resonant, powerful sound is a very special experience. Male Tanpuras are well suited for accompanying male singers.

Female TanpuraThe build of female Tanpuras corresponds, apart from the size, to that of the male Tanpuras. With a size of around 120 to 130 cm, they are a little smaller than those, that is why their tuning is around G, i.e. in both tuning and timbre between the instrumental and the male Tanpuras. They are equipped with 4 strings and are traditionally used for accompanying female singers.

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TARANG offers on principle only high-qualtiy musical instruments. This is made possible by close personal contact to the suppliers and a strict selection of the instruments that are included in our range of goods. We do not offer any instruments which reach the west from unknown sources via importers and which are often resold by middlemen without any quality check and setting of the instrument. The demand from the west is relatively high in India. The purchase prices are negotiated to the lowest limit by the western countries, especially for high ordered quantities. This has effects on the required care and circumspection in craftsmanship, on the experience and mentality of the commissioned manufacturer and the use of parts of the instruments that are often of a poor qualtity. Irrespective of the qualification of the skill in craftsmanship, this leads, in some cases, to results that do not deserve the name instrument. Thus it is easily comprehensible that it is essential, when bying an Indian instrument, to know the sources. TARANG only supplies instruments from indisputable sources. All instruments are delivered adjusted and ready to be played.

Of course, we understand that somebody who purchases an instrument is also dependent on accessories and spare parts. Also in this respect we can satisfy the needs of our customers. Should an instrument be defective at any time, we can arrange for appropriate restoration. As a rule we can deliver any instrument offered on our website within 1 - 2 weeks. Our international lists of teachers enable everybody to find information about a teacher in their proximity. You can expect from us: reasonable prices, prompt service and straightforward processing of purchase and delivery.

The financial aspect also has to be mentioned. Despite the high quality we offer, we also do our best to offer you these instruments at very competitive and reasonable prices.