Classification of Instruments

History of classification of instruments

Right from ancient days of man, various instruments have exisited in india and they have played an important role in the field of music. This is evident from the various wall paintings and carvings of Ajanta-Ellora caves, tablets of Mohenjadaro and also the Vedas talk about a host of instruments.

The first mentions of musical instruments came about in the Vedic period. The description of the instruments is fairly brief; however, one can easily infer that the four types of instruments were already developed by that period. 

String Instruments

Instruments which used strings irrespective of the material of the string were called Tat. The most famous Tat vadhya was Baan or Vaan. It is used similar to the term Veena today. Some scholars have mentioned Vaan as with 100 strings. the term Vaan is that which can make sound. An Arrow was also called Vaan as it makes a sound when released from the bow. The term Vaan was used for all string instruments. Vaan was bow shaped like the harp. It had 7 to 100 strings. Strings were made of a type of grass and later metal was used. A frame was made in Audambar or Goolar wood and covered with leather. Ten holes were made in it and the strings were inserted in it. Another instrument mentioned is the Karkari. 

Of the Tantu vadya during the Vedic time, the name Hiranyakeshi Sootra is a well -known instrument, from whose basis were developed – Talluk Veena, Kaand Veena, Chichhora, Aalapu Veena, Kapisheesha Veena. 

Drum Instruments

The Dundubhi was the most prominent of all drums used in Vedic rituals. The word and the sound it makes is said to fill the sky and drive away enemies. The Dundubhi was made of clay, bronze or copper covered with leather. It was played with deers horn or wood. It was played in battle, celebrations, auspicious and victorious occasions. Later on it was used in royal palaces and temples. Today we called it Nagara. There was a type of Dundubhi called the Bhoomi Dundhubi. In the yagna mandap, a pit was dug in the ground and covered with leather and surrounded by a rope and tied to pegs. It was played with the bull tail bone. It was played along with samagaan.

Rig Veda mentions of another instrument Gargar. This was a special leather instrument which made a roaring sound similar to Gar-gar. The echo of the Gargar was said to create fear in the enemy. The vibration was such that a leather strap was tied to the hand to withstand the shock. 

Wind Instruments

Instruments with holes which produce sound on blowing air is called Sushir Vadhya. Rig veda mentions two wind instruments – Bakur and Naali. Bakur was a kind of bagpipe which was pressed to blow air and produce sound. Naali was a flute.

In the list of wind instruments we find the names – Godha, Naali, Toonav, Vaanivi, Venu, Bhaaraadhuni, Naalika. 

Metal Percussion Instruments

A instrument made of metal or wood which produces sound by striking is called a Ghan Vadhya. An instrument called Aghati was used. It was also called Charma Vadya. We find names such as Dravya ketumat, Vishragopya in the Vedas. During those times, the Ghana Vadya was used on lok Sangeet.

References in the Yajur Veda

We find the first mention of the word Veena in the Yajur Veda. Other instruments also find a mention in the Yajur Veda

1. Audambar was a percussion instrument of the Bheri class. It throws a might sound in all directions. 

2. Veena or Vaan was a stringed lute referring to all stringed instruments 

3. Tunav was a wind instrument played by blowing.

4. Shank or conch is still used in various ceremonies, known for its auspiciousness

5. Paanighna was one who claps for rhythm.

6. Talav was a rhythm instrument played with the hand 

References in Ramayana

During the times of Ramayan, the instruments like veena and Mrudang were used as accompaniment to Dance. During the search for Sita, hanuman could get a glimpse of all the instruments in the court of Ravana (antahpura) – Vipanchi, Mat kokila, Veena, Venu, Dundubhi, Paraha, Mrudang, Pavan, Dindim, Madduka, Muraja, Choliya, Aadambar.

It is mentioned in the stotras during Shiva Pradosh, along with the dance of Shiva, Lakshmi would sing, Vishnu would play the Mrudang, Saraswati on the Veena, Indra on the Venu, Btahma would play the Kartaal. Maharishi Valmiki is known to play all types of instruments.

References in Mahabharata

During the time of Mahabharat, along with details all the instruments, there is are references to playing of the brass or trumpets. Vyasa has described about the popular and special intruments used in worship and Sangeet.

In the Tantra Vadya we find – Tanta, Vallaki, Tumba, Kachchapi, Mahanti Veena

In the Shushir Vadya we find –Venu, Gomukh, Govishaanik

In the Avnad Vadya we find – Panav, Bheri, Mrudang, Dundubhi, Muraj, Pushkar, Jharjhar.

We also find references to ornaments used such as Kinkini, Mekhala, Nupura also the instruments used in Karnatic music such as Ghatam. 

Reference of Instruments in later texts

During the first century, narad in his book naradiya shiksha has described about the then Sangeet and its sophistication. He has classified the instruments in three categories: Avnad, Ghana and Tat

Naratadmate charmanam tantrikam ghanam chethi tridha vaadyalakshanam

It is mentioned that darava and gaanna veena were used for the vaidik samagaan and the loukik gandharva jaathi raag. Veena was generally used for accompaniment in Samagaan and Loukik Gaan, Venu was used for Lok geet.

Narad in his book Sangeeta Makarand has classified the instruments into five – ‘pancha mahavadhyani’. Bharat and Dattilam has classified instruments as four - Tat, Avnad, Ghana and Shushir. After bharat, matang, kohala had also classified the instruments as four.

It was customary that the instruments were associated with godly figures. Tat Vadhya – Devas, Sushir – Gandharva, Avnad – Rakshas, Ghana – Kinnari. 

According to Sangita Damodara, Tat Vadyas are favored by Gods, Sushira Vadyas are favoured by the Gandharvas, whereas Avnaddha Vadyas are used by the Rakshasas, while Ghana Vadyas are played by Kinnaras.

In Sangeet Ratnakara, the instruments have been classified into four parts. Bharata has also classified them into these four.

Vadhyatantri Tatam Shushir Matam

Charmavanddha Vadanamvanaddh Tu Vadhyate

Ghanomurthihi Bhidhatadvaghate Yantram Taddhanam – Sangeet Ratnakar

Sangeeta Ratnakara also gives another classification based on the function of the instruments: 

1. Sushkam (solo playing)

2. Gitanugam (accompaniment to vocal music)

3. Nrittanugam (accompaniment to dance)

4. Dvayanugam (accompaniment to both dance and vocal music).

Someshvara in Mansollasa (12th century) says that the instruments enhance the beauty and grace of dance and music, and for this reason, they have a pre-eminent place in both dance and music.

Vadyen rajte geetam ch nrityam vadyavarjitam |

Tasmadvadyam pradhanam syadvitnrityakriyavidho ||

According to him the instruments can be classified on the basis of number or kinds of strings (tantri bheda) and the manner of their performance.

During the Madhya kaal, the word Vi-Tat was used in place of Avnad. Tansen has described about mrudan, dolaki, chang instruments. Even in the poem by muhammed jayasi it is evident that there were four types of instruments

Tat vitat Sikhar Ghana Tara

Pancho sabdh hoyi Jhanakara

Within this category falls all the types of Tantra Vadhya or string instruments. 

Those instruments where in sound is produced on striking/ rubbing of the string is called Tat Vadhya – Tanpura, Sitar, Guitar, Sarangi, Violin. These instruments are further classified into four categories based on the style of playing.

1. Those instruments played with the fingers – Tanpura, Swarmandal, EkTara

2. Those instruments played with a plectrum – Rudra veena, Saraswati veena, vichitra veena, Sitar, Surbahar, Veena, Sarod, Guitar.

3. Those instruments played with a bow – Violin, Cello, Sarangi, Dilruba, Esraj. These are called Vitat Vadya. 

4. Those instruments played by striking the strings – Santoor, Kanun, Piano.

Right from the ancient period a lot of changes has happened in this category of instruments. The veena was considered as the mother of all string instruments which was made out of wood, bamboo and gourd. During the time of Bharat Muni, there were two types of Veena – one which had a string for each swar and other which using the finger and its placement on the string would produce different swars. 

Till the time of Sangeet Ratnakara all the types of Veena flourished, but dominated by the Ek Tantri and Matakokila Veena. After this time there were considerable changes in the form of instruments. 

The introduction of frets on the Veena further lead to development of various instruments like the Rudra Veena, Saraswati Veena, Sitar, Dilruba. Within the scope of Fretted veenas were those with fixed frets and movable frets

During the time of Tansen only three forms of Tat Vadhya were popular – Rudra Veena, Rabab and Tambura. Rest of the instruments like Sarangi took secondary prominence. 

After the Sangeet ratnakar period, the then Veenas had become unpopular and the Ek Tantri Veena took the shape of the Vichitra Veena. 

Later period saw the emergence of Surbahar, Sitar, Sarod, Taus, Dilruba, esraj with influence of the Persian music. There has been many innovations in this section like the Mohan Veena where a Hawaiian guitar was used like a Vichitra Veena.

Hindustani Sangeet

Rudra Veena, Vichitra Veena, Swar-bahar, Sitar, Sarod, Taanpura, Swarmandal, Saarangi, Esraaj, Dilruba, Santoor, Rabab, Sursingar, Kanun, Mohan Veena.

Karnatik Sangeet

Tanjore Veena, Gottu Vadhyam, Tambura

The vadhya which produce sound on striking a stretched skin is Avnad Vadhya. Instruments like Tabla, Mridangam, Pakhavaj, Dholak, Damaru, Nagada fall in this category. These instruments provide rhythm or taal. Only one Swar can emanate from these instuments, hence these instruments are considered Laya Pradhan. In todays solo performances, Tabla and the mridangam have found a firm place and is widely appreciated.

Today, we find two prominent types of Avnad vadhyas

1. Barrel shaped drums with skin on the open ended side - Mridanga, Pakhawaja, Dholak, Madal

2. Kettle shaped drums with skin on the open sided top - Tabla, Naqara

 As per Bharat Muni there were 100 avnad vadhyas in his time. 

Based on the style of playing we can classify them in five ways

1. Using both the hands to play by use the hand and fingers – Dolak, Tabla, Mrudang, Khodarak, Pakhwaj, Khol, Naal

2. Using one hand and fingers – Khanjadi, Hudak

3. Using a stick to strike – Nagada, Damama, Dhaosa, Nagadiya, Dak

4. Using a button or balls to strike – Damaru, Dakka

In the Sangeet ratnakar we find mention of parah, mardal, hudaka, dakka, Khat, Davsa, Damaru, Trivali, Dundubhi, Bheri

In Sangeet Parijaat we find mention of Mrudang, Dundubhi, Bheri, Damaru, parah, chakravadhya, hadduka under the Avnad Vadhya. 

As per the Bharat Natya Shastra, there were 100 types of Avnad Vadhya used then. Today there are around 280 types of Avnad Vadhya of which Mrudang, Dolak, Khol Mardal, Damaru, Khanjari, Karchakra, Ghatam, Nagada, Tabla are popular. Most of these Vadhyas were invented in India. 

In the ancient times, Avnad Vadhya were used in vocal music for laya and accompaniment for Chhand. There were no concept of Theka. It was not used for the purpose of exhibiting the taal of the gaayak, but the gaayak using his hands would maintain the taal. 

The playing of Theka of a taal began with the singing style of Dhupad gaan. The full development of playing Theka over and over again took place when Khayal took prominence. In Carnatic music, even today the vocalist would use their hands to depict the taal hence there is no need for the Theka to be fixed. The seven Taals of Carnatic music do not have any fixed Theka. Hence one can say that the Avnad Vadhya are highly and their rules for playing are highly sophisticated. 

Hindustani Sangeet

Mrudang, Tabla, Dolak, Hukkad, Khol

Karnatik Sangeet

Mrudangam, Ghatam, Manjari, Dindim

The Sushir Vadhya are present from the times of Avnad Vadhya. Those instruments wherein notes are produced by air modulation is called Sushir Vadhya. By modulation of pressure of air the pitch is increased or decreased. All swars of the three octaves can be produced in these instruments. Some Vidhwans are of the opinion that when in a finite breath during a performance of a Raga, the listeners get the feeling of dissonance, the performer to cumulate more air uses a larger Tumba and a sewn goat skin to store air. 

The development of Nagaswar and Shenai took place based on the beauty of art. The various books have mentioned about Shushir Vadhya. 

Sangeet Ratnakar, Parijaat and Sangeet Saar have mentioned about the uses and descriptions of Shank. It was played during the wars or any special occasions. Even today during worship, the shank is played. Harmonium, Flute, Shenai, Clarinet, Conch. These instruments are further divided into two categories. 

1. Those instruments which produce sound on air passing through Reeds – Harmonium, Swar peti, Organ, Mouth Organ

2. Those instruments which use air bags 

• Bag pipe

3. Those instruments which air passes though holes to produce sound – Flute, Bugle, Conch, Vanshi, Murali, Pavika, Poongi, Shehnai, Nagaswar

• Within this category there are those instruments wherein the air is blown through a hole to produce swars. the other holes are used to block or open to produce other swars – Bansuri, Shank

• The other category is using a reed to blow air to produce sound like in Shehnai or Nagaswar

• Western instruments like Clarinet, Saxophone use keys to open or close the holes to produce different notes.

The trumpet is a western instrument used in bands today.

Even though the development of Shushir Vadhya took place in India, there are deficiencies in them as per the Shastriya Sangeet. In ancient times, a pipe was placed on the Vanshi and Shank to produce the swars of music. In the Medieval times saw a great development of Shuhir instruments in the European states like the Clarinet, Trumpet, Saxophone, Organ. The western instruments of Vanshi are very popular and wide-spread, only the style of playing is different. It is difficult to produce all the types of Swars use in Shastriya Sangeet, hence it has not received much importance. 

Hindustani Sangeet

Flute, Shehnai

Karnatik Sangeet

Flute, Nagaswaram

In modern day performance the vocal ornaments like Kan, Khatka, Murki, Meend are difficult to reproduce. Even playing taan is difficult.

This is the last category. Those instruments which produce sound by striking with a stick or by striking metal – Manjari, Janjh, Kartaal, Jal tarang, Nal Tarang. These instruments are used for maintaining taal. The instruments are also differentiated based on the design, Usage, style of Playing. We find mention of Ghana Vadhya in many ancient scripts like all other Vadhyas.

We find descriptions of the Vadhyas – Kartaal, Kansya Taal, Jay ghata, Ghutik, Ambika, Pat vadhya, Shattaal, Chanch, Gharghar, Taal and manjari in the Sangeet damodar. 

In Sangeet Parijaat we find mention of – Taal, Kansya, Ghanta, Kshudra Ghantika, Jaya Ghanta, Vaccha. The Ashtachaap poets had also named a few lesser pronounced Ghana vadhya. Their names were Taal, Kat Taal, Jhalari, Jhanj, Manjari, Kshudra Ghanta, Jal Tarang.

A few scholars were of the opinion that Ghana Vadya do not have a place individual to themselves in the world of music. Only when it is played along with other instruments, there is a heightened sense of beauty which arises out of playing the Ghana Vadhya.

Based on the style of playing the instruments are classified into three

1. Instruments which are played with both hands by bring together both the hands – Jhanj, Manjari, Kar Taal, Kamrika

2. Instruments which are played using a stick or a hammer whose end is covered with a soft material – Ganta, Jay Ganta, Gong Gomalan, Badi Jhanj

3. Instruments which are played with the movement of the hand – Jhunjuna, Ramba

We find the use of Ghana Vadhya in classical music up till the 12th century. Today, it has little or no relevance. It is used mainly in Bhajans, Kirtans, Lokgeet.

In the latter half of the Twentieth century, new electronic instruments such as Electronic Tanpura, Talmala and Talometere, etc. has emerged. This new category of instruments is known as Electrophones. Electrophones are the instruments in which sound is generated by electrical means or is conventionally produced (as by a vibrating string) and electronically amplified. Electronically amplified conventional instruments include 

1. Digital Tanpura

2. Digital Tabla

3. Electronic Sruti Box (Sur-Peti)

4. Digital Lehra (Nagma)

5. Talometer 

6. Taala-Aid-Carnatic Music

7. Digital Music Trainer

8. Digital Electronic-Veena

9. Digital Swarmandal

10. Guitars and Pianos

It is often considered a fifth main category.

Electric instruments and electronic devices are still in a very premature stage and are meant only to assist the artists in their practice sessions. They have been adopted by the musician community very well, and by all means would go a long way and multiply in many varieties within a short span of time.