Techniques of playing veena

Right hand Technique:
1. Goti: The definition of this includes the downward plucking function ofither index or middle finger. The special name for index downward pluck is redundant. Suggestion: This term could include also a downward pluck of the main strings by any finger. For that matter, just by listening it is difficult to distinguish the middle from the index finger pluck.

2. Vali - The SSP specifies only index finger. There is no term found for an upward middle finger pluck. Suggestion: vali could also include the upward plucking function of middle finger.

3. Pattu: (idai, aDDa is a unique mittu bringing a distinct sound quality to finger plucking. Here the definition should be amended to include also a middle finger pluck followed by an index finger stop and pluck. Tunai or Kutra or tODu: This technique only specifies the - alternating character of the index and middle finger in the downward plucking mode. It does not affect either the middle or index finger pluck quality. Periya and sanna mittu refer to the loud and softness of plucks, which could perhaps be generally applied to any mittu.

4. Katri: This is a unique pluck to produce double sounds.Its equivalents, sama and jODu (equal) suggest that the two fingers are together. Though the two fingers are together there is a time delay in the resultant sound because they are plucked one after another in quick succession. The name karthari or katri, on the other hand,suggests the image of a pair of scissors ( its Tamil meaning), and gives the extended meaning of a broken sound quality characteristic of the technique.Abaddha mittu does not have any quality to it. It does not have any meaning for a listener who cannot comprehend the language.Also TaDai mittu does not bring any quality to the pluck. It simply describes how a particular phrase is dealt with in terms of plucking. Each one can find his own way to dealing with such phrases.

5. kuta: This is a special mittu in terms of both the number of fingers and strings, bringing a different quality to the resulting sound. Another category of pluck with thumb nails is also included in kuta. The sound quality of the nails would be different from the pluck by the three fingers mentioned. There is no reason why it should be only thumb nails.
Suggestion: A special category of pluck with nails could be included. Swara, samhita and ranjaka have no special plectral characteristic .They do not bring in a distinct sound. Ranjakam here only implies softness of pluck, equivalent to sanna mittu.

6. Kanishtika: (laya pakka) This mittu has an important time-keeping function; the quality is due to the conglomerated sound of the side strings, indicating the strong beats of a tala cycle. The term vidi is described as the individual pluck of the main strings for special effect; but there is no such term for individual plucks for the side strings. Suggestion: vidi could probably include individual plucking of any string for effect.But still there is nothing special about the quality of the pluck; it simply sounds the tonic and the fifth in different registers.

7. Gotu: This gives another dimension to kanishtika by adding one more note to sa, pa, sa of the side strings.The description of the term koDi in Sambamurthy is not clear. It implies only a gesture and not a sound . Probably what he means is that while the left fingers play the swaras, the right fingers,instead of plucking, tap the string which results in an indistinct sound. This brings an interesting dynamic quality to the swaras played.

Left Hand Technique:
While mittu indicates the right hand technique, the term gamaka, the most important concept in Indian music, is synonomous with the left hand technique. Gamaka is from the Sanskrit root, gam, "to go." The gamakas could be explained in terms of how they are produced on the vina except those ones like humpita, mudrita and namita which are particularly meant for the vocal production. There are basically four functions of the left hand:

1) Playing the swaras distinctly by moving from one fret position to the other up or down. Generally, most players use both the index and the middle fingers while ascending up the scale of swaras; while descending the scale the fingers are separated. (Occasionally the fingers are used together in the lower speed. Certain traditions insist on this separating technique.

2) Sliding from a lower to higher or from a higher to lower fret position. This is both orally and textually known as e.Etra jAru - irakka jAru This brings a from a lower fret position to a higher.swara. This brings in a horizontal connection to the swaras,

3) Pulling from a lower fret position to a higher swara. This brings a "vertical" connection to the swaras. This technique is used for the kampita variety of the gamakas. These two techniques of the left hand to "connect" the swaras bring two subtle dimensions to the resultant gamaka.This is quite unique to vina.

4) a left finger pluck and a left finger stop. The left finger stop is achieved by lifting the finger off the fret, while still keeping it on the string. These two functions in combination with the others produce interesting changes. For example, the left middle finger, sliding quickly from a lower to a higher fret position followed by a left finger pluck (while) the index finger is still in a lower fret position) produces this gamaka differently, avoiding a finger slide altogether. There are fingering type "stress" gamakas, called spurlta and pratyahata which are produced by the left finger technique, the first one while ascending, the second one while descending. There are deflection-type "stress" gamakas, too,like nokku and odukkal. Tribhinna is a gamaka unique to vina, which produces chordal effects