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Some reflections on the use of Electronic Substitute Tanpura and the intricacies of
proper tanpura tuning
With the following article I would like to share some observations and reflections on the use of the Electronic
Substitute Tanpura (EST) during concerts and recordings and more specifically, about the tuning of the tanpura.
I would like to state explicitly that it is not my intention to scorn or condemn musicians who do use EST, although I
would never choose to do so myself. Nor am I a scholar or do I want to pose as an authority but I have ample
experience as a professional player of the tanpura. It is not my intention to write yet another theoretical or scientific
article, rather, I would share some first-hand practical observations.
I have played for many Indian musicians on concert-tours which were organized by the Royal Tropical Institute of
Amsterdam. All visiting artists were satisfied and inspired having let me take care of the tuning of the tanpura(s).
Also I have done a lot of work on the bridges of many tanpuras, doing the 'jivari'. As a musician-in-learning I study
Dagarvani Dhrupad (vocal) and sarangi.

I understand that the EST or 'white boxes' were originally introduced to facillitate solitary practice but in the past
years I have seen them being used more and more on international concert stages and I have heard them in many
recordings. I have asked various musicians in a diplomatic way why they use EST. Judging from their answers,
practical reasons play a big part: tanpuras are fragile and cumbersome travel companions. Also doubts or
complaints were expressed regarding both the quality of tanpuras and their players that are provided by concert
organizers. These are realistic and valid observations, but I disagree that using EST instead is a good way to deal
with the problem. It is taking the easy way out, but it leads to a loss of refinement in the performances. The artificial
sound of EST is a poor imitation of the real thing. It lacks the rich, vibrant and animated resonance of a properly
tuned and played tanpura.
In my perception and opinion, it casts a dull, grey colour over the whole performance that clouds the finer
resonances of the other instruments and it does not enhance inspiration.
To make things worse, I have attended many concerts during which the EST created a disturbance as the pitch will
often fluctuate. I have noticed this in my own experiences when I was playing tanpura in a concert and the
musicians also used EST. After some time my tanpura would still be in tune with the solo-instrument and the tabla
but the EST had gone out of tune. Then confused looks were cast about at which I pointed out the culprit. I admit I
felt immensely relieved when they then put the thing off, as immediately the 'fog' lifted from the stage and the bright
rays of the tanpura shone forth to enlighten us.

But there are other reasons why I personally do not consider it wise to use EST which go a bit further than to point
out poor sound quality and pitch fluctuations.
First of all, the daily business of tuning the tanpura is a valuable stimulation to further develop our aural
perception. Tuning a tanpura makes great demands on our hearing faculties and requires us to make a conscious
effort (svara-sadhana). When tuning the tanpuras, the artists attune themselves to the raga that is going to be
performed. I believe that for the audience these are also valuable moments of involving anticipation. The audience is
given time to settle down and can appreciate the atmosphere which is being created by the tuning process. The late
Dagar-brothers (if not all members, past or present, of the family) would not previously decide what they were going
to sing at a concert, sometimes to the distress of organizers. This decision was made spontaneously during the tuning
process, or rather, some raga manifested itself while tuning. This conscious effort or svara sadhana is so important
as in the tuning process the artist seeks to create a particular resonance or colour of sound that will suit the chosen
raga. This is related to the concept of raga svaroop, which means essentially that a particular intonation of one or
more svaras can evoke the image or feeling (rasa) of a particular raga. All these essential and subtle elements of
svaroop are hampered by the use of EST. No fine-tuning of Ma or Pa is possible and the timbre (jivari) of each
'string' is fixed. Some controls are there but it remains a crude artificial thing, however smart the electronics may
be. I believe it was Zahiruddin Dagarsaheb who once said that tuning the tanpura creates intelligence. Obviously,
fiddling with the controls of an EST is not quite as edifying.

With a proper tanpura with sensitive jivari various secondary tones can be evoked to emanate from its sustained
resonance, even within the basic PssS tuning. In short, there is not only one 'right' way of tuning in PssS as it is
possible to adjust the finer resonances in function of a particular raga. A tanpura with this kind of subtle tuning can
inspire both the musicians and the audience with its animated presence. Further on I will try to describe some of the
basic principles that lie behind the intricacies of tuning.
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Tuning a tanpura is such a complicated process as every single string resonates with many harmonics which with
some practice can be distinguished individually as secondary tones. Thus we are not dealing with simple
fundamentals but with extended chords. The slightly curved bridge of the tanpura functions like a sonic prism: just
as a prism will refract white light in the various colours of the rainbow, a bridge of proper shape with the thread in
the proper position will refract the constituent harmonics of the fundamental tones. In daily use, the word ‘jivari’
has different meanings: the word translates as ‘soul’ or ‘live-giving’ but also refers to the threads and the carefully
filed sloping curve of the bridge which ‘animate’ the tone of the tanpura. The cotton threads that are passed between
the bridge and the strings allow us to adjust the 'prismatic function' of the jivari process. When we move the thread,
the slightest change of position creates a shift in the harmonic content of the resonance.
Also, with a sensitive jivari the tanpura becomes very responsive: at the touch of one string all others will vibrate as
well in sympathetic resonance. This phenomenon will manifest only under optimum circumstances when the sonic
energy from one string has a number of common harmonics with the others, so that the whole can resonate as one
vibratory system. The sustained resonance of the tanpura, when in full accord and played properly, can become fully
continuous ‘like an organ’. An image that has often come to my mind in comparison to the dynamic sound of a
tanpura is that of the concentric ripples on the surface of the water caused by the impact of a small stone being
dropped into a quiet lake from a bridge. The concentric ripples keep spreading out from a precise point untill the
energy runs out. If another stone of the same weight would be dropped in the same place at the proper moment, the
movement would begin anew, giving the travelling waves a push in the back, creating a seemingly continuous
motion.

It will be obvious that a properly filed and polished bridge is absolutely essential, as a badly shaped or worn bridge
will never give a satisfactory sound. With a worn or otherwise defective bridge, the sound will be shrill and thin and
the resonance will fail to build up. The descending movement along the harmonic series is obstructed so that it will
not reach the lower register. Instead, the sound will be hung up on some high and dissonant harmonic.

As harmonics play an important part in both the sounding process and the tuning, I present the following matrix of
the harmonic series. This chart offers helpfull insights and gives the full range of harmonics according to the physics
of sound. In the present chart I have used the Indian sargam and SA for the fundamental. It is important to realize
that this chart of the harmonic series as such represents a fixed series of natural intervals relative to the
fundamental, regardless of pitch or what nomenclature is used. Whether or not these harmonics will be audible
depends on the acoustical qualities of our instruments, specifically the jivari, and of course our ears and mind. The
matrix is to be read from bottom to top, as the fundamental tone is at its base. Small-type k stands for komal (flat),
small-type t stands for tivra (augmented). As can be seen from this matrix, the octaves are most present (nrs
1,2,4,8,16,32) then the fifths (3,6,12,24) and the third place is shared equally between the natural major third
(5,10,20) and the natural minor seventh (7,14,28). Note also that the amount of harmonics increase in every
successive octave as new harmonics appear in between the octaves of the harmonics of the previous level, presenting
ever smaller successive intervals. Next to the octave of shuddh NI, nr. 30, two variant pitches appear, one slightly
lower, the other slightly higher. Also noteworthy are the variants of tivra MA and komal DHA, nrs 23 and 25 (tivra-
tar MA and ati-komal DHA). The next level 32 – 64 is tightly packed with harmonics in even smaller successive
intervals, but I have not written them out as they are not very relevant for our purposes. Also one would need to
have an extremely low fundamental in order to be able to hear these harmonics (and hyper-sensitive and trained
ears!).

32S
16S 17kR 18R 19kG 20G 21M 22tM 23tM 24P 25kD 26kD 27D 28kN 29N 30N 31N
8S 9R 10G 11tM 12P 13kD 14kN 15N
4S 5G 6P 7kN
2S 3P
1S
0S

As a further example, I will give harmonics 8 – 16 of the fundamentals Pa and Ma.

8P 9D 10N 11tS 12R 13kG 14M 15tM 16P

8M 9P 10D 11N 12S 13kR 14kG 15G 16M
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Note that in writing out the harmonic series of fundamentals other than SA some problems of nomenclature arise.
In Indian music theory, a tivra SA is not recognized, but an augmented fourth over PA is just that (PA11). PA23
would be a tivra-tar SA, just as MA17 would be a komal PA, MA33 ati-komal PA. But no matter, these are
theoretical problems of nomenclature only. The matrix of harmonics, being a timeless and universal phenomenon,
remains the same, regardless of the pitch of the fundamental. More of such difficulties can be found when writing
out the harmonic series of shuddh NI.

The first thing to realize is that in tuning the tanpura, we try to create a single, unified vibratory system. This means
that the relevant harmonics that are emitted by the octave sa strings (jora, the sound of which should be completely
identical) and the first string (PA or MA) have to be aligned with those of the low SA string (karaj) so that the
desired continuity of sound will manifest.

As an example, when tuning Sa-Pa, optimum consonance will be achieved when both share the lowest common
harmonic, pa, which is the 3rd harmonic of Sa and the 2nd harmonic of Pa (SA3:PA2). When these harmonics
sound in conjunct, their octaves may sound as well (SA6,12,24:PA4,8,16) so there are many sonic links between the
two tones. According to the jivari, shuddh RE can be a clear secondary tone, coming from the conjunct of SA9:PA6,
also shuddh NI may sound from SA15:PA10, even MA from SA21:PA14. Note that all these conjuncts are in a
perfect 3:2 relation. In a MssS tuning, SA4:MA3 is the lowest common harmonic as a fifth on MA gives SA. Other
conjuncts are the octaves, SA8,16:MA6,12; then PA on SA12:MA9 and GA on SA20:MA15. In a shuddh NssS tuning
(Marwa, Sohini) there is only one conjunct on SA15:NI8 (and octave) which explains why it is quite difficult to tune
NssS with accuracy as there are not as many exact sonic links in the resonance. To complicate matters even more, a
number of disjunct harmonics can be present in the resonance which can create instability. For instance, SA9,NI5
are two different pitches for RE; SA11,NI6 gives different pitches for tivra MA; as neither 9:5 or 11:6 equal 15:8.
However, there is a useful harmonic link at the natural major third between the PA harmonics of SA (SA3,6,12,24)
and the octaves of NI (NI2,4,8,16)

The other important thing to realize is that when we pluck a string, we perceive a dynamic sounding process in
which two phenomena occur simultaneously. One is the cascading descent of the harmonics from each separate
string, the other is the building-up of the sustained resonance. This is then why the relative timing of plucking the
next string is so important, as the sounding process of the next string has a reciprocal effect on the ultimate
resonance of both strings, and so on. This explains why the unrelenting and mindful attention of the tanpura player
is required, as a slight irregularity in plucking (timing and relative strength of plucking) can create a disturbance in
the resonance of the tanpura. In the basic PssS tuning, we do not only hear the tones PssS and their octaves as some
secondary tones will manifest. These secondary tones can ring out quite clearly and demand our full attention. As
the sound of one single string is already very rich in harmonics, playing all four strings in succession can turn in to
chaos. So both our acuteness of hearing and our mental concentration is required to create order –and life – within
this plenitude of harmonics. I remember clearly how in the early days I used to get lost in there! When tuning a
tanpura, one needs to know what is possible and what one is aiming for. I have already mentioned the secondary
tones. To be more precise, I should point out that not only secondary tones but also tertiary tones are generated.
These include difference tones and combination tones. Particularly the difference tones help to create a fullness in
the lower register as they expand the resonance below the fundamental, as if one would hear a “sa” two or three
octaves below the karaj. However, the secondary tones, the sustained harmonics that are generated by the jivari of
the single strings, are the most important tones to focus on when tuning. These secondary tones can be aligned in
such a way that they will create a recurrent pattern, for instance ”rppg”. This pattern will result from carefully
aligning the harmonics PA6,sa6,sa6,SA10. Without having to change the micro-tuning, “rrrg” (PA6,sa9,sa9,SA10)
can also manifest as a result of a slightly different way of plucking. Here it is also our focal point of attention that is
very important: we have to listen intently and check continuously what is the resultant sound of our playing. As
another possibility for a pattern of secondary tones I mention “mmmg” (PA14,sa21,sa21,SA20). These ways of
tuning are perfectly suited for shuddh-scale ragas, having all natural notes. It is a bit more complicated to tune in
function of a komal-svara raga, having for instance komal RE and GA, as the shuddh RE and GA harmonics are
usually clearly audible in the sustained resonance. By changing the position of the threads and the micro-tuning, one
can try to create a resonance in which SA and PA harmonics dominate, trying to subdue the shuddh RE and GA
harmonics (it is impossible to completely eliminate them). Again, plucking is very important, as is the focal point of
attention of the player.
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I am aware that the descriptions of the mentioned tunings and my explanation thereof are not in accord with what
has been written elsewhere in the annals of Indian musicology by some eminent scholars such as Shri H. G. Ranade.
In his book ‘Hindusthani Music, an outline of its physics and aesthetics’ (1951, pages 88-89) he states that we need
not consider any harmonics higher than nr. 9. This is a biased statement that I can not accept as my own first-hand
experiences contradict it. At some occasions I was able to hear how Ustad Sayeeduddin Dagar tuned the tanpura
in such a way that the pattern “mmmg” was clearly audible. At a glance at the harmonic chart one can readily see
that a shuddh ma harmonic of the fundamental SA does not appear in the series until nr. 21. The pancham string
will emit a shuddh ma as its nrs. 7 and 14, which can reinforce the more distant nr. 21 from the jora through
sympathetic resonance.

This has already become a bit analytical and technical and as such the descriptions offered here may be far removed
from the experiences of Indian musicians. I am quite aware of this, but while it is one thing to demonstrate these
sonic phenomena with a tanpura at hand, I felt that for the sake of this article I had to analyse and describe as
precisely as possible what I hear or what I aim for when I tune the tanpura. Also, I hope to have explained why I am
so much devoted to my tanpura and her sonic refinements which I feel can never be replaced by some smart
electronic device. Furthermore, I would not hesitate to admit that I have often felt that my tanpura had become a
'living being' under my mindful fingers, as she instantly procreates her sonic offspring and she is also very sensitive
to her sonic environment. Once I accompanied a Dhrupad concert during which the pakhavaj would not stay in
tune. This had a great influence on my tanpura, who was quite upset and would not stay in tune. On the positive side
however, when both the instrumental soloist and the percussionist take great care to tune into the resonance of a
properly tuned tanpura, true miracles can happen. In a recent concert-tour I accompanied two Carnatic musicians
who played Sarasvati Veena and Mridangam. For these concerts I played a very good Tanjore-style tanpura, which
blended beatifully with the other instruments. The tones of the Veena and all subtle inflections were suspended by
the resonance of the tanpura, so that they would hover in the air and could fully blossom. I was filled with awe and
admiration when I clearly heard the percussionist responding melodically with great tonal accuracy to the phrases
played on the Veena. I realized these delicacies could not have manifested when accompanied by EST. Physics alone
could not fully explain these phenomena.

Also in my own practice, when I sing with my tanpura, she clearly responds to how and what I sing. When I sing
with delicateness and precision, the resonance of my tanpura responds and opens up even more, manifesting
immediate interaction with my voice. Here I would like to remind my readers of the meaning of the word ‘tanpura’,
which is derived from ‘tana’ which means a musical phrase and ‘puura’ meaning fullness or completion. The
resonance of the tanpura is both full and transparent, which allows me to sing (when I can muster the required
precision and adhere to the character of the raga) any svara so that it completely blends in with the resonance of the
tanpura. Numbers of times I have experimented with EST, both singing and playing sarangi. These were always
short sessions as it does not give me the same inspiration or satisfaction. The times I have tried to tune my sarangi
with EST-accompaniment I found the EST lacking in pitch definition. With a properly tuned tanpura it is possible
to create a steady and radiant SA which is as straight and precise as a laser-line. The EST on the other hand – in my
ears – produces a tone that is too thick and blurry. Maybe I am over-delicate or too demanding, but why settle for
less if one knows what is possible?

Yes, it does take time and effort, every time when we sit down and tune the tanpura, and for the next session we have
to do it all over again. But when we make it a svara sadhana we learn from it, we focus and concentrate and attune
to the raga that we want to play or sing. Then we will be blessed with the animated and inspiring presence of a
properly tuned tanpura which will allow us to sing or play with great precision of melodic intonation in which the
svaras can manifest rasa and bhava. No EST can give the same experience, and furthermore, it does not offer any
teachings or stimulations to help us to advance in the subtle art of Indian music... Aum Nada Brahma...

As a post-scriptum to this article I would like to share some practical considerations which might be useful.
When preparing for a concert, bring all instruments to the stage and leave them there to acclimatize whenever
possible. Ask the light-technician to set and adjust the stage-lights before the soundcheck and then to leave it like
that. Also, check for possible drafts which can be a nuisance. When – for whatever reasons – EST is to be used, it is
best to run it on fresh batteries. Otherwise, when run on current, be sure to set it to the desired pitch well ahead of
the beginning of the concert, and leave it on with the volume turned low. This will help to stabilize the pitch.
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As far as solitary practice is concerned, when I play the sarangi, I personally prefer to use a CD-recording of a
properly tuned and played tanpura, which I find is the next best thing to having a good instrument and player sitting
next to oneself.

I would like to dedicate this article to all the inspiring musicians that I have had the honour to accompany in concert.
Especially to Ustad Sayeeduddin Dagarsaheb, who is by far the most demanding and critical person as regards the
tuning of tanpuras that I have ever met. I have accompanied him in many concerts and we have worked together on
the bridges of many tanpuras, which was a great learning experience. Also I would like to thank mr. Felix van
Lamsweerde, former ethno-musicological curator of the Royal Tropical Institute. He has been very influential in
introducing classical Indian music in the Netherlands. In 1963 he had my present tanpura made in Miraj, and as a
mentor and friend he has been most supportive.

Martin Spaink, Toscana, 2003

Feel free to circulate this article or to quote from it, as I would like to stimulate some discussion on this topic.
Reactions can be sent to the following e-mail-address: martinspaink@yahoo.com