The fingering technique is a very important consideration in a discussion pertaining to Mridangam. For a left-handed percussionist, the legs and hands are switched. This can be described simple: The Mridangam rests upon the right foot and ankle, the right leg being slightly extended, while the left leg is bent and rests against the hull of the drum and against the torso of the artist. A right-handed Mridangam artist plays the smaller membrane with his or her right hand and the larger membrane with the left hand. The Mridangam is played resting it parallel to the floor. The system of talas (or taalams) in South Indian Carnatic music may be the most complex percussive rhythm system of any form of classical music. With the development of the Mridangam came the evolution of the tala (rhythmic) system. It is widely believed that the Mridanga, the Mridangam's North Indian musical counterpart, was first constructed by splitting an Mridangam in half. Over the years, the Mridangam evolved to be made of different kinds of wood due to its increased durability, and today, its body is constructed from wood of the jackfruit tree. Early Mridangams were made of hardened clay. The word “Mridangam” is derived from the two Sanskrit words “Mrid” (clay or earth) and “Ang,” (body). The Mridangam is thus also known as “Deva Vaadyam,” or “Instrument of the Gods.” Nandi is said to have played the Mridangam during Shiva's arcane Tandava dance, causing a divine rhythm to resound across the heavens. In ancient Hindu sculpture, painting, and mythology, the Mridangam is often depicted as the instrument of choice for a number of deities like Nandi, who is the vehicle and companion of Lord Shiva. Its importance is best expressed in the saying Shruti Mata Laya Pita (the microtone is the mother while tempo is the father). Percussion is the backbone of Indian classical music. One of the differences between Indian Classical Music and its western counterpart is the importance given to percussion in the former style. That is the reason Mridangam is known as the king in the rhythmic realm. When on a solo turn, the variety and patterns and mode of rhythmic travel is a veritable feast to both the learned and the layman. It enriches and enhances the musical effect of the whole troupe. In the big contrast with this, the Indian ruler among collision instruments - the Mridangam is first “tuned” to the appropriate pitch and far more than drum beat, it accompanies the music. ![]() The drum just maintains the pulse rate of the music and it calls for more of brawn than brain. In Western music, the rhythm instrument is the drum. One major winning point in Carnatic music is the rhythm management which admits of any amount of innovation and growth. Mridangam forms the basis for Carnatic classical percussion in India. This class includes other drums like Maddal, Shuddha maddalam, Khol, and Pakhawaj. The Mridangam is a south Indian representative of a class of instrument known as Mridang. This instrument is a single piece of wood that is hollowed out and has playing heads on both sides. ![]() It is the principal drum used in the performance of classical South Indian music and dance. The Carnatic sangeet of southern India prefers a drum called Mridangam. Collectively these two limbs form the body of a musical tradition that is said to extend back several thousand years. The Hindustani sangeet (music) of the North and the Carnatic sangeet in the south. ![]() The music of India is one of the oldest systems of music in the world.
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