The mridangam is a traditional percussion instrument from the Indian subcontinent. It comes from the southern Indian state of Tamil Nadu and is commonly used in south Indian classical music, known as Carnatic music, especially in performances called sangeetha kacherees. It serves as the main rhythm instrument in a Carnatic music group. In dhrupad, a different style of music, a similar instrument called the pakhawaj is used as the primary percussion instrument. A related instrument, the kendang, is played in Maritime Southeast Asia. The mridangam is difficult to tune and requires mathematical calculations to build its parts, called korvais.

During a percussion ensemble, the mridangam is often played with the ghatam, the kanjira, and the morsing.

Etymology

The word "Mridangam" is made by combining two Sanskrit words: "mŗd," meaning clay or earth, and "anga," meaning limb. This is because the earliest versions of the instrument were made from hardened clay. An article in the Journal of the Madras Music Academy (Vol. XXIV, P:135-136) by Dr. V Raghavan suggests that the name "Mridangam" comes from the black paste applied to the instrument, which creates its special sound. While many accept that the name comes from "mŗd" and "anga," Dr. Raghavan explains that the black patch is made from mud particles, such as silicon, iron, and manganese, taken from a stone called "Kittam Stone." When this powder is mixed with cooked rice and applied in layers on the second layer of the instrument, it produces the unique tone that gives the instrument its name, "Mridanga."

Legend

In ancient Hindu art and stories, the mridangam is often shown as the favorite instrument of several gods, including Ganesha, who is known as the remover of obstacles, and Nandi, who is the vehicle and companion of Shiva. Nandi is said to have played the mridangam during Shiva's ancient tandava dance, creating a sacred sound that echoed through the sky. Because of this, the mridangam is also called "deva vaadyam," which means "Divine Instrument."

History

Over time, the mridangam was improved by using different types of wood to make it stronger. Today, its body is made from the wood of the jackfruit tree. Many people believe that the tabla, a similar instrument in Hindustani music, was first created by cutting a mridangam in half. As the mridangam developed, the tala (rhythm) system also emerged.

The mridangam plays an important role in Newa music. One of the first written works in Nepal Bhasa about music is a book called Mridanga anukaranam, which focuses on this instrument.

The way the mridangam is used has changed over time. In the past, percussionists mainly played to support the main performer, often the singer. Now, it is used not only for accompaniment but also for solo performances.

In Tamil culture, the mridangam is called tannumai. The earliest mention of the mridangam in Tamil writing may be in Sangam literature, where it is referred to as tannumai. Later works, such as Silappadikaram, describe the instrument in detail, similar to the Natyasastra. During the Sangam period, the mridangam was one of the main percussion instruments used to signal the start of battles, along with the murasu, tudi, and parai. It was believed that its sound could protect the king by keeping enemy arrows away. In the post-Sangam period, as described in Silappadikaram, the mridangam was part of a musical group called antarakoṭṭu, which performed before dramatic shows. This group later became the basis for Bharathanatyam. The person who played the mridangam was called tannumai aruntozhil mutalvan.

Construction

The mridangam is a drum with two sides. Its body is usually made from a hollow piece of jackfruit wood that is about one inch thick. The two open ends of the drum are covered with skin from a goat, cow, or buffalo. These skins are tied together with leather straps along the length of the drum. The straps are tightened to stretch the circular membranes on both sides of the drum, allowing them to vibrate when struck. The two membranes are different in size to create both low and high sounds from the same drum.

The larger opening is called the thoppi or eda bhaaga, and the smaller opening is called the valanthalai or bala bhaaga. When the smaller membrane is struck, it makes higher-pitched sounds with a metallic tone. The larger membrane produces lower-pitched sounds. The skin covering the smaller opening is covered with a black disk made of rice flour, iron powder, and starch. This black paste, called saatham or karanai, gives the mridangam its special metallic sound.

The use of two different-sized membranes allows the drum to create unique musical tones. The study of these tones was first explored by Nobel Prize-winning physicist C. V. Raman.

Methods of use

Before a performance, the leather covering the larger opening is made damp, and a paste made from semolina (rawa) and water is placed on the center of the left head. This lowers the pitch of the larger membrane and creates a deep, resonant bass sound. Today, rubber gum is also used to loosen the membrane for the same purpose. Rubber gum is easier to use because it does not stick to the hands. The musician adjusts the instrument by changing the tightness of the leather straps that stretch across the body of the mridangam. This is done by placing the mridangam upright with its larger side down, and then tapping the tension straps around the edge of the smaller membrane with a heavy object, such as a stone. A wooden peg may be placed between the stone and the mridangam to apply pressure exactly where needed. Hitting the outer edge of the smaller membrane toward the body raises the pitch, while hitting the outer edge away from the body lowers the pitch. Modern mridangams often use nuts and bolts to attach the drum heads to the wooden body. These are tuned using a wrench or in the same way as traditional mridangams. For the sound to resonate clearly, the pitch must be even and balanced around the entire edge of the valanthalai. A pitch pipe or tambura can help balance the pitch. The larger membrane can also be tuned similarly, and by adding a small amount of water to the edge of the inner membrane, the leather can be loosened. It is important to note that the leather straps connect both the smaller and larger openings, so adjusting tension on one side may affect the other side.

Talam (Rhythmic Cycle)

Tala or Talam refers to the steady rhythmic pattern that helps keep a consistent beat during a Carnatic music performance. The choice of Tala depends on the singer’s preference. Although some Talas are used more often, there are 175 possible combinations, calculated using math. These combinations are created by combining three elements: the seven main Talas (called Sapta Talas), the Jathi, and the Gathi.

The seven main Talas are:
• Dhruva
• Matya
• Roopaka
• Jhumpa
• Triputa
• Ata
• Eka

Each of these Talas is paired with one of the five Jathis:
• Tisra (3)
• Chathurasra (4)
• Khanda (5)
• Misra (7)
• Sankeerna (9)

The Talas and Jathis are then combined with one of the five Gathis, which have the same names and numbers as the Jathis:
• Tisra (3)
• Chathurasra (4)
• Khanda (5)
• Misra (7)
• Sankeerna (9)

The total of 175 Talas is found by multiplying the number of Talas (7), Jathis (5), and Gathis (5). Although the math behind this system is more complex, trained Mridangam artists learn to play these rhythms skillfully, allowing them to perform freely during Carnatic concerts.

There are also chaappu Talas, such as roopaka chaappu, khanda chaappu, and misra chaappu, which are frequently used in Carnatic songs.

Thani Avarthanam

The term “Thani Avartanam” comes from the words “Thani,” which means “solo,” and “Avartanam,” which refers to a repeating rhythm. This part of a Carnatic concert happens after the main section, usually after the Kalpanaswara segment, where the singer and violinist play improvised music. During the Thani Avartanam, the percussionists perform in order: first the Mridangam, then the Kanjira (a hand drum that supports the Mridangam), and finally the Ghatam (a clay drum that also supports the Mridangam). The rhythm is repeated using many complex patterns (called jathis) until it reaches the koraippu, where all the musicians play together in a final performance. After this, the main performer continues where they left off. While other instruments may sometimes be used during the Thani Avartanam, the Mridangam, Kanjira, and Ghatam are most commonly played in Carnatic concerts.

Modern usage

The mridangam is most commonly used in Carnatic music performances. These performances happen in Southern India and are now popular around the world. As the main rhythmic support (pakkavadyam), the mridangam plays a very important role. It helps other musicians stay in rhythm and supports the main performer. A special part of modern Carnatic music concerts is the percussion solo (thani avarthanam). During this part, the mridangam player and other percussionists, such as kanjira, morsing, and ghatam, play complex rhythmic patterns based on a specific talam. This section ends with a grand finale, after which the main artist continues their performance.

The mridangam is also used as an accompanying instrument in Yakshagana Himmela, which is an orchestra. In this context, it is called the maddale. However, the mridangam used in Yakshagana has a different structure and sound compared to the one used in Carnatic music.

Although the mridangam is closely linked to Carnatic music, it can be used in many types of music worldwide. This is shown by its use in fusion band groups and cinema orchestras.

Important modern mridangam players include T. K. Murthy, Dandamudi Ram Mohan Rao, T. V. Gopalakrishnan, Umayalpuram K. Sivaraman, Vellore G. Ramabhadran, T S Nandakumar, Karaikudi Mani, Trichy Sankaran, Mannargudi Easwaran, Yella Venkateswara Rao, Srimushnam V. Raja Rao, and Thiruvarur Bakthavathsalam. These musicians have played and improved the instrument’s techniques for many years.

Mridangamela

Mridangamela is a performance where a group of artists play the mridangam together in a coordinated way. The idea of Mridangamela was created by Korambu Subrahmanian Namboodiri and is now continued by Korambu Vikraman Namboodiri.

Mridangamela is designed to be simple for groups of people to perform, including children. The ages of the performers can vary widely, often ranging from 3 years old to older individuals. Many performances take place shortly after children begin learning to play the mridangam. A teaching method developed specifically for Mridangamela made it easier to learn and helped increase its popularity.

At the Koodalmanikyam Temple in Irinjalakuda, it is a tradition for children aged 3 and older to perform Mridangamela as soon as the Utsavam festival begins. This performance is offered to Lord Bharata, the deity honored at the Koodalmanikyam Temple.

In 2014, a group of 75 children performed Mridangamela at the Chembai Sangeetholsavam, an annual Carnatic music festival held in Guruvayur by the Guruvayur Devaswom. Mridangamela has been part of this festival for 35 years, organized by Korambu Mridanga Kalari.

Players

During the early 20th century, many skilled mridangam players emerged, leading to the creation of different schools with unique playing styles. Examples include the Puddukottai school and the Thanjavur school. These experts, including Palani Subramaniam Pillai, Palghat Mani Iyer, and C.S. Murugabhupathy, made significant contributions and are often called the Mridangam Trinity.

• T. K. Murthy
• Umayalpuram K Sivaraman
• Venilan Vairavapillai
• T. V. Gopalakrishnan
• Trichy Sankaran
• Guruvayur Dorai
• Mannarkoil J Balaji
• Salem S. Ranganathan
• Madipakkam Suresh
• T S Nandakumar
• Yella Venkateswara Rao
• Mannargudi Easwaran
• Thiruvarur Bakthavathsalam
• A. V. Anand
• Dandamudi Sumathi Ram Mohan Rao
• Srimushnam V. Raja Rao
• Patri Satish Kumar
• Anoor Anantha Krishna Sharma
• Trichur C. Narendran
• K V Prasad
• Anantha R Krishnan
• Tiruvarur Vaidyanathan
• Neyveli R. Narayanan
• Erickavu N. Sunil
• H. S. Sudhindra
• B C Manjunath
• Paramaswamy Kirupakaran
• Adithya Ramaswamy Krishnan
• D.A.Srinivas
• Vishal Narayan
• K. Arun Prakash
• Peruna Harikumar
• Sumesh Narayanan
• Praveen Sparsh
• Delhi Sairam