Mohan veena

Maitra has always preferred sarod to other Indian instruments since its fretless construction allows to artfully perform Indian classical music which is mainly based on glissando and microtone techniques. Despite the obvious advantages of fretless design, Moitra was always worried about a lesser sound of his favorite instrument compared to a In his search, Maitra mastered the sursingar—a rather rare instrument of the sarod family with a wooden deck providing the desired deep sound rich with overtones. However, its size required a different performing technique, which forced Maitra to look for a new sound after several concerts with the sursingar. Finally, Maitra designed a completely new musical instrument combining all the advantages of most common Hindustani instruments. In his mohan veena, the maestro installed a wooden deck, advanced string bridge from the sitar, added an extra resonator on the neck edge used in the veena and a fretboard from his beloved sarod. At present a Guitar with sympathetic wires also is called Mohan Veena by a guitarist who claimed that he has invented this Mohan Veena by adding sympathetic wires to existing guitar, this is something childish to claim such a invention, and what about the Mohan Veena of Radhika Ji is there any video he is playing with that Mohan Veena?

I'm selling a Mohan Veena (Indian Slide Guitar) that I bought in 2009 from the virtuoso Indian slide guitarist Salil Bhatt in Jaipur, India. Salil is the son of Vishwa Mohan Bhatt, the Grammy Award-winning Indian slide guitarist. Vishwa Mohan Bhatt is often credited with inventing/developing this instrument. (Others make similar claims but this instrument was made to his specifications.) *This is a completely one-of-a-kind instrument, in that it was custom made and purchased directly from the family that developed it; I have played similar Indian slide guitars at stores in Delhi and they didn't come close to have the resonance and volume that this has. Please see the embedded YouTube for a video of the master himself playing. He has a pickup on his so it sounds quite different from how it sounds acoustically. Here is a video from a few years ago of me playing the instrument I am selling with my band Communipaw: vimeo.com/12787269 I'm selling this instrument because I never put in the practice to get that great at it, and because I believe it should be played, rather than sit around and get played once a year. I just don't use it enough to justify having it. It sounds beautiful, very resonant, fairly loud and responsive. Some of the binding has come off on a small section, but that is just a cosmetic issue and the instrument is structurally in great shape. *There is a resonator that screws into the back of the headstock (see photo). I have it set up string-wise as it was wh...

For Tell us about your forefathers and their connection with Telangana? When did they move to Jaipur? My connection with Telangana dates back hundreds of years. My ancestors were Sanskrit pandits, poets, scholars and musicians from this region. But, when the city of Jaipur was founded by Maharaja Jai Singh II, sometime in the 17th century, he invited musicians and scholars from across the country to come and settle there and that was when my family migrated to the Pink City. Your parents, Manmohan and Bhatt, were revered musicians. What kind of influence did they have on you? My parents had a strong influence on me from an early age. Honestly, my mother is one of my biggest inspirations. She was the first woman to pursue music in an orthodox Brahmin family such as ours in Jaipur. It was a time when women were not even allowed to go out of the house without a ghunghat. But she was a rebel and had the full support of my father, who encouraged her to pursue music. My father even appointed several gurus to teach her music and among them were Ustad Qayam and a tawaif (courtesan). At that time, a Muslim entering a Hindu home was considered sacrilege but my father always believed that music is above all religion. My fondest memory as a child is sitting on my mother’s lap during her morning riyaaz, every day. Probably all of that made me who I am today. Other than your parents, you also honed your skills under the tutelage of Pt. Ravi Shankar, one of the brightest stars of the Mai...

• Banerjee, Meena (5 March 2015). The Hindu. . Retrieved 30 July 2018. • Khanna, Shailaja (17 March 2017). The Hindu. . Retrieved 30 July 2018. • Childed, Serg (2 October 2019). MusicTales . Retrieved 11 July 2022. • Deb, Arunabha (18 April 2014). Business Line . Retrieved 30 July 2018. • Vishwanmohanbhatt.com. Archived from . Retrieved 2016-03-03. External links [ ] • •

Memphis, TN Dr. Veena Mohan, MD is an internal medicine specialist in Memphis, TN and has over 33 years of experience in the medical field. She graduated from UNIVERSITY OF ALASKA / ANCHORAGE CAMPUS in 1989. She is affiliated with Baptist Memorial Hospital - Memphis. Her office is not accepting new patients.

Think you know every nook and cranny of the modern guitar world? Think again. Here we take you inside the burgeoning Indian lap slide scene—a place where players from one of the world’s oldest civilizations took inspiration from Hawaiians, created mind-boggling 20-string instruments, and now conjure spellbindingly virtuosic music. It’s an improbable story: A Hawaiian guitarist ventures to India and ignites a craze for lap steel. Indian filmmakers and composers embrace Hawaiian guitar and incorporate its keening sound into their Bollywood productions. A few enterprising young musicians take note of the lap steel’s melodic expressiveness and begin modifying archtop acoustics with sympathetic and plucked drone strings, making them suitable for playing ragas—the melodic patterns and modes in traditional Indian compositions. Soon these hot-rod guitars are accepted as legitimate instruments for performing Indian classical music, and a new breed of virtuosos emerge to write yet another chapter of the guitar’s unpredictable evolution. All this and much more actually happened, but if you’ve never heard the music spawned by this cross-cultural collision, you’re not alone. Most Western guitarists are unaware of their Indian lap-slide counterparts and the vibrant sounds they create. In the next few pages, we’ll explore what is now known as Indian classical guitar, or Hindustani slide, and learn how the tradition continues to unfold today. We’ll hear from several leading exponents of t...

Mohan Veena Indian stringed instruments have undergone many changes throughout history . Many western musical instruments like violin, harmonium, mandolin, archtop guitar and electric guitar have come to be accepted in Indian classical music. Vishwa Mohan Bhatt developed and named this hybrid slide guitar and has been added to the list of Indian classical instrument. The Mohan Veena is a highly modified archtop, which Bhatt plays lap-style. It has 19 strings: three melody strings and four three drone strings coming out of the peg heads, and 12 sympathetic strong to tuners mounted to a piece of wood added to the side of the neck. The melody strings are on what we would consider the treble side of the neck, and the drone strings are on the bass side. The drone strings are lower in height than the melody strings to allow for unrestricted playing of the melody strings. The sympathetic strings run underneath the melody and drone strings to yet another level in the bridge. The instrument has a carved spruced top, mahogany back and sides, a mahogany neck, and a flat, fretless, rosewood fingerboard. The Mohan Veena is under tremendous tension; the total strings pull to be in excess of 500 pounds. It is due to this high tension the tone tuns incredible with the sympathetic ringing out and strengthening each note played. This is a loud instrument made to cut through with low amplification.