Musical Instruments

The music is of uncomplicated innocence and songs depict day-to-day relationships and chores more often focal around bring of water. Rajasthan's cultural tapestry takes in simple folk to highly cultivated classical music and dance in its own distinct style.

In the realm of the folkways dance and music rule supreme and one cannot think of Rajasthan without this important element of its folk life.

Rajasthan - the most colorful State of India. From time immemorial this state has poured into the lives of millions of Indians a stream of soul stirring rhythms and resonance.

The haunting melodies of Rajasthan are born from a variety of delightfully primitive looking instruments. Instruments that have the power captivate of your senses and transport you to the golden realm of the royal state, wherever on earth you are.

Music and dance are deeply embedded in Rajasthani life. Folk traditions and music received the patronage of the Rajas in Rajasthan. The Langa and the Manganiyar communities of musicians have a rich repertoire of songs which has brought them international fame.

A school of kathak, the classical dance form of northern India originated in Jaipur called the Jaipur gharana (style). Then there are several musical compositions. Dhola-maru for eg. immortalises the love story of Dhola- Maru.

Instruments such as sarangi, satara, kamaycha, nad and morchang create a wide range of liting and melodious sound. The spontaneous dances, ghoomar, gair and chari are very famous and lively.
The Rajasthanis live their life to the hilt! Their is dancing, singing, drama, devotional music and puppet shows which transform the hardworking community into a fun-loving and care-free individual. Each region has its own folk dance styles & musical instruments. The professional performance are the Bhatts, Dholis, Mivasis, Nats and Bhands.

A large variety of musical instruments is used in the countryside.

It ranges from the soft tinklers to thunderous kettledrums; from simple, slender flutes to intriguing trumpets; and from the rustic looking resonators for basic rhythm to elegant and fully developed bowing or plucking devices. It is a fascinating sight to see the folk musicians of Rajasthan with their musical instruments, who besides dressing themselves in colourful attire, also decorate and embellish their instruments with beautiful trappings and ornamental coverings. They are a people with music in their souls. Some of the most important of these instruments can be classified according to their uses in the following manner :

Enhancer or Embellishers
1.String Instruments

A. Drone : Apang or bapang , Dotra, Kendru, Chutara or tandoora, or Nissan and Duska

B Chanter :
i.Bowing ------- Rawanhatta, Gujaratan, Sarangi, Jogia sarangi, Sindhi Sarangi, Kamayacha and Surinda.
ii.Plucking------- Rewaj and Janter.
Wind instruments

A.Metal : Nagfani, Bankia, and Morchang .
B.Wood : Murla, Peli, Sanai, satara, Algocha, Pavri and Bansuri.

Rhymers and Time-keepers

1. Percussive instruments

A.Membranous : Deru or Dhak, Chang of duff, Dhol , Khanjari , Dholak, Maadal, and Nagara.
B.Non- membranous : Ghanti, Tikor, and Thali

3. Tintinnabulary Instruments

A.Jinglar : Bhiroonji ka Ghoongroo
B.Tinkler : Manjeera and Bhoongroo

3. Rattling Instruments

A.Clapper : Khartal
B.Scrapper: Kagrach
C.Clinker : Chipia, Hankal

It is interesting to have a look into the basic structure of some of these instruments as it reflects a great deal on the musical ingenuity of the folks.
Detail of these Instruments.
Rajasthan - the most colorful State of India. From time immemorial this state has poured into the lives of millions of Indians a stream of soul stirring rhythms and resonance.
The haunting melodies of Rajasthan are born from a variety of delightfully primitive looking instruments. Instruments that have the power of the captivate your senses and transport you to the golden realm of the royal state, wherever on earth you are.

The Stringed Instrument
The sarangi is the most important folk musical instrument and is found in various forms in Rajasthan. The sarangies are one of the plethora of musical instrumentsused in Rajasthan. The 'langas' use the 'Sindhi sarangi'. It is made up of four main wires, seven 'jharis' and seventeen 'tarafs'. The bowing of these instruments is a skilful exercise, often supported by the sound of the 'ghungroos' or ankle bells that are tied to the bow to make the beat prominent. The Jantar of the Bhopas of Dev Narainji is akin to the Saraswati or Rudra Veena. It has two gourds, four strings and fourteen frets.

The Ektaara is also a single string instrument, but it is mounted on the belly of a gourd attached to a body made of bamboo.In Western Rajasthan, a simple instrument called the Morchang is very popular,that resembles the Jewish harp. The Ghoralio is common among the Bhils, Garasiyas and the Kallbelias. Both these instruments resemble the Jewish harp.

Another remarkable bowed instrument is the 'kamayaca' of 'manganiyars', with its big, circular resonator, giving out an impressive deep, booming sound..

Wind Instruments

These are the instruments that are played by blowing into them. The 'algoza', common in the Tonk-Ajmer areas, is such two-flutes played together. The 'satara' of the 'langas' has one long flute and another flute to provide the drone.

The 'narh' or 'nad' produces music most evocative of the desert. It is a vertical with a single long hollow tube, into which the player whistles at the same time while gurgling a song in his throat or actually singing intermittently that has a haunting effect.

These instruments are played by blowing in them. There are different models of flutes.
The peli of the meos of alwar.
The Algoza of Tonk- Ajmer area.
The Satara of the Langas.
The Narh or Nad- a veritica flute from desert grass called Kangore.
The Autophonic Instruments
The bells are the first of the autophonic instruments. The 'ghanti' or the 'ghanta' are commonly used and the 'ghungroo' (ankle bells) form an integral part of the music. There are the 'manjeeras', which are made of brass in the shape hemispherical metal cups stuck against each other.
The 'jhanit' The Jhalar, and the 'taala' are different kinds of 'manjeeras'. A single metal plate, the 'thali', forms another variety of musical instruments. This is struck in various ways producing different kinds of tones and rhythms. Rhythmic music is also provided by the 'khartals', which are disc jinglers, struck against each other.In Jaisalmer district an interesting variant of the Jaltarang is used. It is called the Jaltaal and is a thali with water filled in it. The jhalar is usually played with bells, blowing of conchshells and beating of drums at aartis and on other religious occasions.

Percussion
Different kinds of drums form this group of musical instruments. They are of various kinds: the two-sided ones, the single sided drums, the shallow rimmed and single-faced. Single faced instruments are played singly or in pairs. Different kinds of drums form this group of musical instruments. The most common instrument in the village of Rajasthan is the dhol or drum. One version of dhol is called dholak. Nagada is a male form of the drum and the Jheel, the female form. Chang is alarge drum played during Holi. The tabla is a pair of drums played by classical musicians.

The largest single conical drum is the 'bam' of Bharatpur. The earthern pitcher, locally known as 'matka' and the 'ghada' has its mouth covered with membrane.

The single faced and shallow rimmed drums are the daf and the chang. The chang is the biggest, and with a parchment pasted on its rim, is a big favorite of the holi travelers. The player strikes the center with his left hand and the edge of the membrane with a stick attached to a finger of the right hand. A second player beats out a faster rhythm along the rim, which is called 'chippi lagana'. The smallest member in this group is the Khanjri, and its variant is the Dhapli.

Musical instruments of Rajasthan
Ravan Hatta
Ravan Hatta an instrument unique to Mewar in Rajasthan is found largely in museums. This is created with the honour of being perhaps the earliest instrument played with the bow. The Ravanhattha is a royal string instrument older than the Sarangi. Minstrels themselves played it in older days. It has string with ghunghroos tied to the rod, which rubs over the string giving captivating taal (rhythm) to the song being played.

The Ravan hatta consists of half a coconut-shell resonator covered with membrane, bound to it with the help of cotton cords, a two feet long bamboo stick fixed to the resonator with two main strings, one of horse-tail and other of steel. In addition to these are sympathetic steel strings varying between three to thirteen, passing over a bridge and them directly to the wooden pegs fixed to the sides of the stick. It is played with a curved bow of horse-tail hair drawn across the strings with rhythmic jerks, the small brass bells attached to it providing the jingling stress on beats. It is held by the left hand, the resonator resting on the left side of the chest. The dexterity lies in playing each successive note clear and detached and synchronising it with singing, changing the rhythm and displacing the normal beats and accents as and when required by the musical situation.

The Rawanhathha of the Thori or Nayak Bhopas is probably the earliest instrument played with a bow, and this humble instrument could well be the precursor of the violin. It has two main strings and a variable number of supporting strings, with a belly of half coconut shell and a body of bamboo. The bow has ghungroos (bells) attached to it. The music is staccato and accompained by the syncopated singing of the Bhopa and the Bhopan. The Jogis of Abu Road area use a smaller version of the Rawanhathha which has its two main strings tuned to the 'Sa' of the Indian octave and a third of steel to 'Pa'. The Langas use the Sindhi sarangi. It is made up of four main wires, seven jharas and seventeen tarafs. Others members of the family are the Gujratan, Jogia and Dhani sarangis. The Surinda, favourite of the Manganiyars, is a small sarangi. The Chikara, used by the Meos and Jogis of Mewat is a replica of the Sarangi.
The folks use two types of percussive rhythmers or time keepers, membranous and non – membranous. Almost the membranous are Deru, or Dhak, Chang or Duf, Khnjari, Dhol, Dholak, Maadal and Nagara.

Deru
Deru is a small Drum, mainly used by the nomads as an accompaniment to their devotional songs. It has goat skin mounted on both ends which is kept in position through cotton cords, adjustable through brass hoops for obtaining proper tension.

Chang
Chang is used as a rhythmic accompaniment to the erotic songs and dances on the colourful occasion of Holi. This instrument has sheep-skin pasted on a large circular or octagonal wooden frame. Balanced on the right shoulder, it is played with both hands, left striking the rim and right the central part. Interesting rhythmic patterns are woven when two players perform together, occasionally using a stick held between their right-hand fingers or using their knuckles to emphasize the beat. A variant of this instrument producing hollow, booming and resonant sounds, has buffalo-hide held securely by an intricate cord work.
Khanjiri

The Khanjiri, a kind of a tambourine, is traditionally associated with the women folk of Kalbeliyas(The snake charmer community). It is smaller variant of a Chang with jingling metal discs fixed in a circular wooden frame and is played with one hand, the other holding it, often hit with Kunkles or against the thighs and sometimes shaken vigrousely to emphasize the rhythm and to prove a succession of light ringing sounds.

Dhol
The twin faced drum is a must for any celebration in Rajasthan. Created in wood, this instrument gives a new soul to music and dance with its resonance and beat. The large dhol is a big cylindrical drum made of flat iron sheets alternately riveted with iron and copper, has goat-skin mounted over both ends with cotton cords adjusted by brass rings to obtain appropriate tension. While the right side having a lower pitch is struck with a stick, the left with higher is struck by hand. The medium one, used mostly for devotional music, is a wooden cylindrical drum. The single-headed dhol, a tribal instrument, is a hemispherical metal bowl. Another tribal noted for its deep and loud sound is maadal which has an earthen body having the shape of a truncated cone and deer or goat-skin tightened by rope without hoops. Played with both hands, it is used as an accompaniment to community dances.

The mainly used by the Saranga community an all auspicious and festive occasions. It’s sound gives a welcome boost to the tempo of the drummer, stir up and stimulates the singers, provides a refreshing fillip to the dancers and generally strengthens the overall effect of the musical activity.

 Nagara
 The massive Nagara is a pair of hemispherical bowls, the bigger made of copper and the other of iron, with buffalo and camel hides mounted on them respectively, kept in position with leather straps. The bigger bowl is set at low pitch and the smaller at a very high one. Keeping the larger to the left, the drums are played with two sticks. It is capable of producing a variety of notes, deep and thunderous, to give company to massive community dances like raasmandal and ghoomar.

Daf
Daf is a tambourine.   It is quite large, about two feet across, with a conspicuous absence of jingles.   It is commonly used in folk music but is rarely heard in other styles.   It is also called dapphu, daffali, or a number of other names.   It is related to the kanjira of South Indian music.

Dholak
Dholak is a very popular folk drum of northern India.  It is barrel shaped with a simple membrane on the right hand side.  The left hand is also a single membrane with a special application on the inner surface.  This application is a mixture of tar, clay and sand (dholak masala) which lowers the pitch and provides a well defined tone. 

There are two ways of tightening the dholak.  Sometimes they are laced with rope, in which case, a series of metal rings are pulled to tighten the instrument.  Sometimes metal turnbuckles are employed.  It is said that this instrument used to occupy a position of considerable prestige.

Tabla
Tabla is a pair of drums.   It consists of of a small right hand drum called dayan and a larger metal one called bayan.
The tabla has an interesting construction.   The dayan (right hand drum) is almost always made of wood.   The diameter at the membrane may run from just under five inches to over six inches.   The bayan (left hand drum) may be made of iron, aluminum, copper, steel, or clay; yet brass with a nickel or chrome plate is the most common material.   Undoubtedly the most striking characteristic of the tabla is the large black spot on each of the playing surfaces.   These black spots are a mixture of gum, soot, and iron filings.   Their function is to create the bell-like timbre that is characteristic of the instrument.

Pakhawaj
Pakhawaj is essentially a north Indian version of the mridangam and is the most common north Indian representative of the class of barrel shaped drums known as mridang.   It was once common throughout north India, but in the last few generations tabla has usurped its position of importance.   It has a right head which is identical to tabla except somewhat larger.   The left head is similar to the tabla bayan except that there is a temporary application of flour and water instead of the black permanent spot.   It is laced with rawhide and has tuning blocks placed between the straps and shell.

There are several styles of pakhawaj playing.  The most well known and important is for the accompaniment of dhrupad and dhammar singers; this however, is falling out of fashion. Pakhawaj is also very much used for Kathak dancers. It is also found in a classical form from Rajasthan known as Haveli Sangeet.

Pakhawaj compositions are passed down from generation to generation.  Like the tabla, they are taught by a series of mnemonic syllables known as bol.  There are major differences between the tabla bols and the pakhawaj bols.  This is often confusing to musicians who wish to play pakhawaj compositions on the tabla.
Folk Instruments player

The Ghanti  
The Ghanti, bell of various sizes, is cast in an alloy of brass, copper and zinc. It has a suspended stroker which strikes against its wall, producing a deep clanging sound enhancing the rhythmic effects in devotional singing. The bells are the first of the autophonic instruments. The Ghanti or the Ghanta are commonly used and the Ghungroo (ankle bells) form an integral part of music. The Bhopas of Bherunji wear large ghungroos around their waists and sway their bodies to provide a rhythm. The war dance of the Godwad area, the Ramjhol, is performed to the rhythm of the large ankle bells. Then there are the Manjeeras which are made of brass in the shape of hemispherical metal cups struck against each other.

Tikaor
The Tikor is a cylindrical copper bell with a stroker.
Thaali
The Thaali is a kitchen implement, is a thin circular plate with vertically upturned edges, and is cast in brass or bronze sheet. Held in one hand and struck by the other with a wooden stick, it produces clinking sound. The first announcement of the birth of a son is made to its accompaniment, the bridegroom received, and the bride given the ceremonial send- off attended with its clinking.

Sarangi
The Sarangi is the most important instrument in the folk music of Rajasthan. Probably the ancestor of violin, this instrument has two main strings and a variable number of supporting strings, with a belly of half a coconut shell and a body of bamboo. The Sarangi serves as an echo of the singer, And accompanying the Sarangi is the Dholak. it is a two-sided drum like structure made of wood with membranes covering the hollow structure with adds rhythm to the soul-stirring music.

Gujratan Sarangi-
Sindhi Sarangi is a fully developed instruments, having four strings, two of gut and two of steel. Used by muslim singers who sing for muslim patrons. mainly used by Langas in Marwar as vocal accompaniment.

Jogia Sarangi-
Jogia Sarangi is used by the Jogis in Mewat and Shekhawati as an accompaniment to their balled singing, has only two strings both fixed to the tuning pegs on the right side.

Sindhi Sarangi
Sindhi Sarangi, however, is fully developed instruments having four main strings, two of gut and two of steel, apart from seven supple Tory strings of brass and seventeen sympathetic strings of steel lied to the tuning pegs on the right side. This instruments also used by Langas.

This musical instrument is used by snake charmer. Other stringed instruments include revaj, dusaka, apang & dilruba, which is played with a bow. The bow has ghungroos (bells) attached to it to give added melody. The Sitar is another classical instrument played in Rajasthan.

Matka
Matkas and the Ghada and pair of huge earthenware pots, their mouths covered with membrane. One player plays each Matkas, and the Bhopas use it to accompany their singing.
The Matkas of Pabuji and the Ghada are a pair of huge earthenware pots,their mouths covered with membrane. One player plays each Matka, and the Bhopas use it to accompany their singing. The whole effect is heightened by the graceful dance of the player.

Algoza
A popular instrument of Mewat. It consists of a pair of bamboo flutes, six holes in each, simultaneously played vertically as accompaniment to Rutwai songs of shepherds.

The enchanting music for song is provided by the Algoza. An instrument belonging to the regions Tonk, Ajmer consisting of bamboo flutes played together. These are the numerous instruments that are played by blowing into them. Rajasthan folk music has many variations of the flute. The Peli of the Meos of Alwar is a short flute, to the music of which the Ratwai is sung in a high pitch. The Algoza, common in the Tonk-Ajmer areas, is two such flutes played together. The Kathodis use the Pawri, a flute of bamboo held vertically.

The Bhils use a short flute in some of their dances. Ceremonial music is provided by Nafeeri and Surnai, both rudimentrary forms of the shehnai Then there is the Poongi of the snake charmers and its adaptation by the Langas called the Murla. Both have two tubes, one for the notes and the other for the drone.
Pavri

The Waagad tribes use a wood- wind instrument called Parvi as an accompaniment to community dancing. It is an elegant instrument consisting of three distinct part – the upper an elongated gourd serving as the air- chamber with a mouthpiece to blow air, the middle consisting of two bamboos tubes having three to five holes and the straw reeds hidden in the air chamber, and the lower an arched funnel- shaped opening. Its mysterious eerie sounds work as booster to the music and dance of the Khatodiyas and Bhil.

Bansuri
One of the simplest wood – wind instruments of the folks all over the country side is the Bansuri. Made of a bamboo pipe with eight holes and a mouth – hole for blowing air, it is held transversely, parallel to the eyebrow. While both the thumbs keep it in position, fingers of the left hand, except the little one, and all four fingers of the right hand are used in playing.

Kamaycha
Kamaycha is an extremely elegant instrument of the professional singing community of Mangniyars all over Mewar. Used by all singing communities especially in Mewar but mainly by those belonging to the Langas.

The Kamaycha has a big, circular resonator, which produces a deep booming sound. It is used exclusively by the Manganiyars in the Jaisalmer-Barmer region. So deeply is the sense of tune and rhythm in the mind and ear of the folk muscians, that they need nothing more than intuition and a highly trained ear to tune their instruments. It has a large circular belly covered with parchment, a peg system and a finger board. It has three main strings of gut, besides nine suppletory and four sympathetic steel strings all passing through a   broad bridge. The long wooden curved bow of horse-tail hair moving on all the strings is characteristic of this instrument. Used by all singing communities, especially in Marwar but mainly by those belonging to the Langas.

Ektaara
The Ektaara is also a single string instrument, but it is mounted on the belly of a gourd attached to a body made of bamboo.The Galaleng Jogis of Dungarpur and Banswara have twin gourded Kendru appears akin to the ancient Kinnari Veena, and it has often been called the Keengri in Rajasthan literature.The Chautara, also called the Tandoora or Nissan , is also a popular five stringed drone and beat instrument used as an accompaniment to devotional music and for the Terathali dance.

Ektar is a simple folk instrument.  It is used to provide both a drone as well as simple rhytmic accompaniment to folk songs.  It may be the oldest stringed instrument in the Indian subcontinent.  The ektar is described in ancient Sanskrit texts as the ekatantri vina, literally the "one stringed lute".
The construction is very simple, it is nothing more than a gourd which has been penetrated by a stick of bamboo.  Another piece of bamboo forms the tuning peg.  The bridge is merely a coin, piece of coconut, plastic or similar object.  Ektars such as this are common in the south.  In the north, their construction is a little more complicated.  A membrane is stretched over the gourd and the bridge is placed over the taut membrane.

The term ektar literally means "one string", as such the term is loosely applied to a variety of one-stringed folk instruments.  This includes such instruments as the tuntun, katho, anand lahari, and gopichand. The ektar is very popular in folk music and has a strong rustic connotation. It is very much associated with the saint Mira Bai.

Morchng
The morchang resembles a jew's-harp. The plaintive, melancholic twang of the morchang adds a desolate dimension to the songs of the Manganiyars. A favourite of the Langas is the morchang, a wrought-iron instrument, much akin to the Jews harp, which produces twanging sounds. Held between the teeth, the left hand keeping it is position, it is played with right-hand fingers plucking the projected tongue, the sound being reinforced by air blown from the mouth of the player. The instrument is capable of producing a variety of notes and weaving a large range of rhythmic patterns.

Shanai

A slender instrument used particularly at the time of weddings, is sahnai. A double-beating reed instrument consisting of a single piece wooden tube with a opening and a metal mouthpiece, it is played as an accompaniment to nagara.

Apang and Bhapang
The Apang and Bhapang is a hollow cylindrical tin box covered on the lower side with goat-skin through the centre of which a metallic string tied to a slender piece of twig passes to the peg, provided in the bamboo stick fixed to the outer wall of the resonsator. Held in the left hand fingers.

Dotara
The Dotara is made of dried gourd covered with a membrane, a bamboo stick, and has two steel strings . it is played by plucking the string with fingers.

Kendru
The Kendru has a dried gourd at either end of a bamboo and a single string.

Dusks
The Duska is similar to the Apang.

Chutara
The Chautara, also called the Tandoora or Nissan , is also a popular five or some times four stringed drone and beat instrument which are plucked by fingers, the left and often beating the belly of the instrument to emphasize the follow rhythm. It is used as an accompaniment to devotional music and for the Terathali dance and popular with devotees of RamdeoJi

Surinda
Surinda has two main strings of steel and the third main of gut , tied to pegs on the right. Exclusively used as an accompaniment to Satra, a wind instrument , it is played with a bow to which Ghoonghroo are attached. It is rare treat to observe the Langa performers produce tremulous effects by jerking the bow and rapidly alternate the original tone with a slightly perceptible variation in the pitch, through swift pulsation of fingers on strings of this instrument, a technique handed down through generations. The folk use two plucking instrument.

Rawaj
The Rawaj , mainly used by those belonging to the Rawal and Bhat communities who work as the priests of the Charans, has wooden resonator with parchment pasted over it, a peg box, a finger board, four main strings of gut and five steel strings for sympathetic vibrations. It is used by a wooden plectrum.

Jantar
The majestic looking Jantar, used by the priests of the Gujas as an accompaniment to their ballad singing, has two round gourd resonators, one a little larger than other, fixed to a round wooden bar. Having four steel strings and fourteen hide frets pasted with wax, it is plucked with fingers from below the strings, thumb being used to pluck a particular steel string to obtain rhythmic vibrations.
They have three very interesting metal-wind instruments. Having a serpentine body made of bronze, attractively decorated with embossed patterns, and played on chamade so that the sound receives maximum diffusion.

Nagfani
The Nagfani is an instrument of the mendicants. It produces deep resounding, re-echoing sounds and is used to announce the arrival and the presence of the religious order.

Bankia
Bankia is a trumpet-like brass instrument with an oblong loop-type tube body, a saucer-shaped opening and an integrated mouthpiece through which air is blown in powerfully. It is used with the dhol, mainly by the musicians of the Sargara community on all auspicious and festive occasions. Its sound gives a welcome boost to the tempo of the drummer, stirs up and stimulates the singers, provides a refreshing fillip to the dancers, and generally strengthens the overall effect of the musical activity.

Murla
Belong to the wood-wind class of instruments, Murla is used mainly by the Langas. An improvement over the snake – charmer’s Poongi and noted for it’s plaintive strains, it’s body consists of a longish gourd through which air is blown continuously to pass through two tubes, one a chanter and other a drone, each having separate reeds. The instruments has high tonal range.

Peli
Popular with Meos in the north- eastern part plains of the Mewat is the Peli, a bamboo flute with the five holes. It is held vertically with hands, three fingers of the right hand manipulating the holes.

The Satara
The Satara of the Langas has one long flute and another flute to provide the drone. The Narh or Nad produces music most evocative of the desert. It is a vertical flute with a single long hollow tube, into which the player whistles, at the same time gurgling a song in his throat or actually singing intermittently. The effect is haunting. The Satara of the Langa tribe has one long flute producing music most evocative of the desert. It is two wooden flutes, one of which works as a drone played simultaneously. Each has six holes, but those in the drone are closed or opned according to the need of the musical scale.

Ghoongharoo
Amongst the tintinnabulary instruments, ghoonghroo is a small round hollow metal ball slitted and having a pebble inside. It is a very significant instrument for musical embellishment. A bunch of them threaded in a cotton string and tied round the ankles of the dancers, produce bewitching tinkling sounds to the rhythm at each step of the performer. Some times the folks tie a bunch to an end of a bamboo stick and holding it by the hand, strike the other end to the ground in the rhythmic unison to emphasize the pulse of the musical composition. A bunch of large sized Ghoonghroos tied to a leather strap is called Bhairon Ji Ke Ghoonghroo and is worn by the priest during the propitiation of gods. It produces jingling sounds when he shakes his body. Used mainly as an accompaniment to the devotional music.

Manjeera
Manjeera is a pair of concave cymbals, cast in an alloy of brass, copper and zinc and connected to each other  with a cotton cord passing through holes in their centre. It produces rhythmic tinkling sounds when clanged against the tapered edges of each other, tone varying according to the sizes, weights and the proportions of  the metals in the alloy. A virtuoso performer can produce nuances by striking at different points of one by the rim of the other. An interesting use of the instrument is made by the performers of  the teratali, when as many as thirteen cymbals are put in action.

Khartal
Khartal is used for keeping time during devotional singing. This castanet-like instrument consists of a pair of flat rectangular wooden clappers having thin brass jingles. One is ringed in a thumb, the other is held by the remaining four fingers, and the sound is produced when they are clapped against each other.

Kagrach
The Bhils in the Waagad and Chappan use an instrument called Kagrach. It consist of a split bamboo, both sides of which are serrated having a set of notches, and a bamboo strip half of which is thinly separated or splintered lengthwise like a brush. The letter is moved horizontally over the former producing a rasping, scraping or grating sound as an accompaniment to the unvarying singing of hymns during their religious ceremonies.

Chinpia
A clinking instrument called Chinpia is also used as an accompaniment to devotional music. Like a pair of tongs it has two flat iron blades riveted at one end with an iron ring at the joint. Each blade has six jingling discs fixed to it. I t is played by hitting on one blade against the other and striking the ring against its body to obtain additional beats whenever required.

Hakal
The hakal, used by the tribal priests during propitiation of Gods and goddesses, is a bunch of five or six long iron chains having oblong links in an iron ring. The Bhopas vehemently strikes it on his naked back, the sharp fetter – like sounds help in providing an awe inspiring musical rhythm to the devotional chants.

Poongi
Then there is the Poongi of the snake charmers and its adaptation by the Langas called the Murla. Both have two tubes, one for the notes and the other for the drone. Pungi or Bin is the snake charmer's instrument.  The word "pungi" is a generic term for many reeded noisemakers.  The term bin is really a misnomer.  The word bin is a typical East Indian corruption of vina.  The term vina implies a stringed instrument so it should not be applied to a reeded instrument.

Quality of their musical sound.
Relationship to classical music:
A 5th- to 7th-century treatise, the Brhad-desi of Matanga, contrasted desi - indigenous folk music sung differently in each region, following local styles and not observing rules of intervals, scales and melody mould - with Mdrga - the 'sought' music of the elites. Matanga also provided the first documentary evidence of a vital feature of Indian music, the interplay between folk and classical music, when he listed the ragas contributed by folk to classical music. Folk performing practice in such areas as Sind, Gujarat and Rajasthan confirms that such processes have continued to modern times. Folk melodies referred to as Mand, Sorath, Maru, Jangla and Sindhi Bhairava by Rajasthani folk musicians have many musical features in common with classical ragas of those names. However, that not all raga names used in Rajasthan imply melodies similar to classical ragas with the same names and one must be careful not to generalize about this point. Furthermore all Rajasthani folksongs with raga names are preceded by duha (poetic couplets) sung to a melody with free rhythm; when the duha ends, the song with its definite rhythmic structure begins. This non-metred to metered pattern occurs in the classical music successions, such as alap-dhrupad and ragam-pallavi. By being sung in different rhythmic structures, one raga is made to express several different moods.

Group singing of classical 'bandishes', called the 'dangal' or 'taalbandi' is also unique to this region. 'Bhopas' are singing priests of various deities or warrior saints. The famous sophisticated 'maand' of Rajasthan, true to its desert environment, speaks of love, separation, chivalry and rivalry.
Musical instruments are also introduced from the folk to the classical tradition. In some cases the instruments are modified to suit the aesthetic or musical demands of a particular context. An example is the sarangi, a bowed lute found in many forms .The sarangi used by one jati of musicians in Rajasthan, the Langa, is a complex instrument with three layers of strings: four baja (playing strings, two steel and two gut), eight brass jhara (sympathetic strings just below the main strings), and another set of 17 steel sympa-thetic strings (jil) under the jhara. The baja and jhara are tied to pegs at the upper end of the instrument, while the jil are pegged along the side. In north India a form of the sarangi, lacking one set of sympathetic strings, has become the most popular accompanying chordophone in classical music ensembles. An effort is now being made to get the sarong! Accepted as a solo classical instrument.
The shahnai (shawm) is used in both folk and classical music. Like the sarangi the shahnai is found in several varieties throughout India. One type was featured as a leading instrument of the naubat-khana ensemble that played at palace and mausoleum gateways at fixed hours of the day and announced the arrival of visiting dignitaries. The shahnai features at festivals, in processions, and at various important village affairs, such as weddings; it is also a concert instrument used in classical music. In each of these contexts the accompanying percussion instrument is usually a pair of the kettledrum type (called by differing names - naqqara, dukar-tikar, duggi and khurdhak) or a double-headed wooden cylindrical dholak, one of the most important folk drums.

Festivals of Rajasthan and musical instruments.
Songs for festivals and other occasions: In the numerous festivals held each year to celebrate a good harvest, a change of season, or a mythological event, or to give special honor to a god or goddess, regardless of the locale or occasion, music and dance play an integral part. Some festivals are associated with a specific song or dance. Seasons occasion many folk songs other than those related to festivals or dance. Songs enumerating the seasons and their moods are widespread, particularly those of spring and the rainy season. Moods as well as events associated with each season are important; in Rajasthan the rainy season is the time when girls may visit their own families, with their husbands' permission. Also at this time women whose husbands are away lament separation most keenly, expressing loneliness and sexual frustration. Throughout the subcontinent festivals mark the six seasons in the Hindu calendar, still used for religious purposes. The rich flavor of this opulent artistic talent can be savored during various fairs and festivals of the state, especially during the Desert festival (Jan-Feb), Pushkar Fair (Oct-Nov), the Marwar Festival (Sept - Oct) and the Camel Festival (Jan-Feb).

'Peepli' and 'Nihalde' are songs imploring the beloved not to leave her or to return to her as soon as he can. There are songs about the family, comparing every number to the numerous ornaments worn by women. The festivals of Gangaur and Teej, celebrating marital bliss and the brief but splendid monsoon of Rajasthan call for special songs without which, no celebration is complete. A plethora of fairs and festivals brings gaiety, a wild riot of colours and music into the dry lives of these desert people. There is a tendency to lump folk music along with tribal music. 

There is actually a difference.  Where folk music is a mere rustic reflection of the larger Indian society, tribal music often represents cultures that are very different.  Some of these tribal cultures are throwbacks to cultural conditions as they were thousands of years ago.
Tribal and folk music is not taught in the same way that Indian classical music is taught.  There is no formal period of apprenticeship where the student is able to devote their entire life to learning the music; the economics of rural life does not permit this sort of thing. 

The musical practitioners must still attend to their normal duties of hunting, agriculture or whatever their chosen profession is.
Music in the villages is learned almost by osmosis.  From childhood the music is heard and imbibed along with ones mother's milk.  There are numerous public activities that allow the villagers to practice and hone their skills.  These are the normal functions which synchronize village life with the universe.
The music is an indispensable component of functions such as weddings, engagements, and births.  There is a plethora of songs for such occasions. 

There are also many songs associated with planting and harvesting.  In these activities the villagers routinely sing of their hopes, fears and aspirations.
Folk music is also used for educational purposes.  To an outsider this would seem uncharacteristic of obviously respectable community members.  However the function of such songs is to provide the girl's first instructions on her emerging womanhood and what her future marital duties will be

Traditional forms and character of the musical instruments.
Cultural heritage of Rajasthan is rich and carefully nurtured and sustained over centuries by waves of settlers ranging from Harappan civilization, Aryans, Bhils, Jains, Jats, Gujjars, Muslims and Rajput Aristocracy. Rajasthani arts and crafts have emerged as an essential part of people's lives. Unique in concept, colour and workmanship, the art and handicrafts of Rajasthan are beyond comparison. The arts, crafts, music and dances of Rajasthan are exciting and compelling. Rajasthan dances are a spectacle of life and colour. The glittering jewellery and attractive handicrafts of Rajasthan have caught the fantasy of the people everywhere.

There are many varieties of musical structure, varying not only between communities but also within one repertory. Melodies may be through composed or include repetition; refrain-type repetition occurs in many melodies. In ritual situations songs with incremental repetition provide opportunities for small but important textual changes in the verse, for example, an enumeration of family members' names.
Folk music. India's population is of the order of 1 billion, approximately 80% of whom live in half a million villages. This diverse population includes dozens of ethnic groups with 15 major languages and hundreds of dialects, several religions and thousands of jati (endogamous, occupational and commensally social categories). Unlike classical music, which is cultivated and appreciated by India's elite minority, folk music is integral to the daily lives of the people, whether at work or at leisure, in rituals or for festivals. In this article 'tribal music' is not considered categorically distinct from 'folk music' because the traditional uses of music appear to be similar among tribal and non-tribal peoples. Also, in terms of music itself the divergences do not necessarily fall along tribal and non-tribal lines.

Musical characteristics:
Since the vast repertories and enormous variety in India's folk music pro-scribe generalization about melody, rhythm, meter or structure, this discussion merely suggests the range of diversity without attempting to provide a comprehensive survey.
Indian folk music is performed in numerous ways: a single individual offering morning prayer in solitude, a group of individuals taking turns to sing (as in Rajasthani folk song), groups of varying size playing or singing either in unison or ensemble, or the most prevalent form of a leader joined by a chorus. Homo-phony generally prevails, often supported by percussion or other rhythmic accompaniment. Most examples here are homophonic, exceptions being those with a drone. Parallel harmony is also found, particularly in some tribal music, Drones are peculiar to bagpipes and other wind instruments such as the snake-charmer's pungi, and to many string instruments throughout the subcontinent.
A perfect complement to the music could be found in the lively folk dances of Rajasthan. The tera tali performed sitting, is an exercise in rhythmic dexterity. It is performed by a group of two to three who have manjiras or metal cymbals tied to their limbs. Wizened old bhopas and dholis, jogis and miraasis-all traditional singers-chant ditties about folk heroes of yore-Baba Ramdeo, Gogaji, Tejaji, Dhola Maru and Jethwa Ujli- in voices surprisingly strong and passionate. Performances open with the stirring call of the imposing trumpet, the bankia. Musicians use ancient, unsophisticated instruments that produce strangely mesmeric sounds-twin flutes called algoza, the hypnotic Jewish harp or morchhang, the stringed instrument with a tinkling cluster of bells called the ravanhatta and the earthen pitcher or matka turned in the hands with amazing dexterity and used as a percussion instrument are some of these instruments. The chang is yet another percussion instrument which is made of sheepskin pasted onto a large circular or octagonal wooden frame. This is used as a rhythmic accompaniment to the erotic songs and dances performed on the colorful festival of Holi. The khanjari is a tambourine used traditionally by the Kalbeliya women who belong to the snake charmer community.

There is a great tradition of popular poetry, which is written under the rival banners of 'turra' and 'kalangi'. This is sung in groups in 'jikri', 'kanhaiyya' or 'geet' (of the meenas), 'hele-ke-khyal' and 'bam rasiya' of Eastern Rajasthan. Group singing of classical 'bandishes', called the 'dangal' or 'taalbandi' is also unique to this region. 'Bhopas' are singing priests of various deities or warrior saints.
Material used in the instrument

There are also instruments which are used only in particular folk styles in particular regions.  These instruments are innumerable. The instruments that folk musicians use are generally not as refined as the classical musicians use.  The instruments of classical music are crafted by artisans whose only job is the fabrication of musical instruments.  In contrast the folk instruments are commonly crafted by the musicians themselves. It is very common to find folk instruments that have been fabricated of commonly available materials.  Skin, peritoneum, bamboo, coconut shells, and pots are but a few commonly available materials used to make musical instruments.

The vast array of Rajasthani folk instruments is made ingeniously from a variety of materials. Shells of dried gourds of all shapes and sizes are used for gorse stems or bamboos segments for flutes and baked clay pots for drums. Conch shells are blown to produce full, resonant sounds, sticks create Grasping rhythms and ghungroos (brass bells) jingle on waists and ankles.
Most women's songs are unaccompanied except by hand-clapping or occasionally by small cymbals. Women in some communities perform stick dances with instruments used for rhythmic punctuation of the melody.

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