Chande
Chande ( kannada ಚ o ಡ ) also sponding, denotes a cylindrical double skin drum that is played in some regions in the south Indian folk music and at Hindu temple festivals. The chande accompanied mainly with the barrel drum Maddale the dance drama Yakshagana in Karnataka, while the closely related Chenda ( Malayalam, also Cenda ) and the hourglass idakka in Kerala are defeated at temple festivals. The loudest sounding in Yakshagana - percussion orchestra beats coming from the chande and illustrate symbolically bravery and heroism.
Design and style of play
The one-piece body ( kalasige ) a chande is from the root portion of a coconut tree, the acacia trees species Albizia amara ( kannada: bilkambi ) or Gerber (Acacia catechu, kannada: khadira ), Calophyllum inophyllum ( honne ) or a tube cassia ( Kakke ) herausgestemmt. The length of the cylinder is 48-63 centimeters, the diameter at both sides of 18 cm and a wall thickness of just 1.5 centimeters., The membranes are stretched over iron rings of 30 centimeters in diameter, the upper membrane ( mucchige ) consists of a thin calfskin, the lower ( adimucchige ) from a thicker buffalo hide. The diameter of the scraped and sun-dried animal skins should be about 10 inches taller than the rings. After the skins have located four hours in the water and become soft, they get wet pulled over the iron rings and stitched to the folded end in two runs in a circle. Upon drying, the skins tone. In a uniform distance drilling twelve holes ( tutu ) between seam and ring in the skins. Now the two finished eardrums are placed over the openings and drawn through the holes with a thick cotton cord ( Hagga ) V-shaped braced against each other. As with the idakka they are not firmly attached to the body and keep only the removable lacing their position.
Only the top drum head is struck, the lower provides the necessary return, and serves as a tuned amplifier. To increase the head tension, side mounted between two cords rings ( baru ) are shifted from leather or iron. Is not adequate to tension a particular string pair, this can be turned once or twice with an intervening ambitious piece of wood. The drum is tuned to the root note ( tonic) of the singer. If a harmonium accompanied, so this is before the tuning pitch.
The player ( chandegara ) uses two becomes thicker towards the outside bars ( kolu ) of 30 centimeters length of solid wood. Working closely with the both sides defeated Maddale barrel drum he produces like this with the left hand the sound " DDIM " and with the right tone " ttom ". The two mallets are used differently. The right hand holds the rod end between your thumb and index finger with the palm down, allowing strong sweeping strokes. The left beater is held with the tips of the thumb, index finger and middle finger to make more fine beats and rolls can be performed. To this end, about ten centimeters long round rod at a point is sometimes tied to the edge of the membrane to cushion as a fulcrum quick strokes with the left hand. Depending on the region and elastic sticks made of rattan are used with a heavy head, a thin long rod and a thicker handle end. A sometimes placed around the whole body of material encapsulation has only a decorative function.
If the drum played while standing, it hangs on a strap over the left shoulder perpendicular to the membrane at hip level so that they can be beaten in two free hands with sticks. On stage, the musicians sitting on a chair with your knees and fixed the number at the bottom of the drum. With half foisted feet he brings the Chenda in a slightly inclined forward position whereby the lower diaphragm to vibrate freely.
Origin and Distribution
The Chenda is different from the chande essentially only by a differently shaped and fixed clamping ring and their regional and musically diverse range of applications. The temple festivals in Kerala, the Chenda is one of the five musical instruments a Panchavadyam - performance.
Of the large number of Indian drum types enjoy the hourglass-shaped drums such as the idakka a special religious veneration, because they are the damaru, associated with an attribute of Shiva. Historically, older than Sanduhrtrommeln and going back to in Vedic period are cylindrical drums with a wooden body. They were called dundubhi BC in the writings of the 1st millennium, which can not be excluded that this was a collective term for other drum types. Because of their wide-ranging volume, they served mainly as war drums. An early illustration of a cylindrical drum is to be found at a Buddhist stupa of relief on Bharhut from the 2 / 1 Century BC One of several monkeys has reassigned a cylindrical drum on a belt and beaten them with a thick stick.
More common than straight cylindrical drums are slightly bulbous barrel drums, whose best known representative the pakhawaj and in the north Indian folk music, the dhol are in the North Indian classical music. Similar to the pakhawaj is built the Maddale, which is used together with the chande in Yakshagana orchestra.
Chande in Yakshagana Dance Theater
The Yakshagana theater will be held outdoors and lasts all night. From the earlier religious ritual in honor of Vishnu ( "Music" ) is derived particularly from that celestial musicians, the Yakshas, and Sanskrit gana, a popular theater, the end of which strictly ritualized and whose shape is created aesthetically developed.
Music is an integral part in the opportunities offered by garishly colorful painted and costumed performers sequence of scenes. The most important task comes to the singer and leader of the performance, the bhagavata. He leads the cast after the indispensable invocation ceremony of Ganesha on the selected four-post open-air stage where the musicians take before the rear curtain and behind a low Absperrvorhang ( tere) space. The orchestra consists of the maddalegara ( Maddale the player), the chandegara ( chande player) and the srutigara. The latter plays a musical instrument that produces a drone which the root note ( tonic, in India shruti ) corresponds to the singer. The usual shruti instrument is otherwise of the snake known pungi with only one game tube, which is recently replaced mostly by the Indian harmonium or a Shrutibox. The bhagavata accentuates the beats with a talavadya ( stroke imaging instrument). The performers are based in the dance routines ( nritta ) their footwork on the rhythm.
The traditional costume for the orchestra conductor and the two drum players consisted of a red turban wound. a white shirt and wide white trousers. In 1918, a singer introduced a red-striped turban, a long-sleeved white shirt and a white dhoti. Adorned were the men with golden necklaces, earrings ( galivanti ) and bangles on her wrists. The chandegara sat only one on the right side of the stage. To stage equipment included a table which consisted of four boards with four wheels and was called ratha. On it, the performers took their seats and occasionally the bhagavata and maddalegara in breaks. Today, the dance groups also appear on concert stages, the chandegara sitting sideways separately from the other musicians or those sitting at the rear edge of the stage.
There are two regional performance styles, their differences have an impact on the accompanying orchestra. In the " northern style " ( badagatittu ) used the bhagavata small cymbals ( tala ), in the " southern style " ( tenkutittu ) instead a brass gong. The played rhythmic patterns ( talas ) have names, as they are known in some cases also from classical music, but here describe other structures. The Yakshagana music knows seven, according to other data more Yakshagana - talas ( kannada ಯಕ್ಷಗಾನ ತಾಳ ), including: adi ( 16 beats = matra ), rupaka ( 7 beats ), jampe ( 5 beats ), trivude ( 7 beats ), eka ( 4 beats ) and kore ( 3 ½ beats). The spoken syllables shopping for the basic rhythms hot badtige ( comparable to the bols in the North Indian classical music).
One of the roots of Yakshagana is the snake summoning ritual Nagamandala, wherein said conductive musicians and singers Dakke the hourglass keeps in hand and several companions chande and playing cymbals.