Mohan veena

The Mohan veena is a unique and evocative plucked string instrument that occupies a special place in the realm of Indian classical music, particularly within the Hindustani tradition. The term “Mohan veena” actually refers to two distinct instruments, both of which have made significant contributions to the musical landscape of India. The first version was created in the late 1940s by Pandit Radhika Mohan Maitra, a renowned sarod maestro, who sought to blend the tonal qualities and design elements of the sarod, veena, and surbahar. This instrument was named “Mohan veena” in his honor by Thakur Jaidev Singh, then chief producer of All India Radio, acknowledging Maitra’s innovative spirit and his desire to enrich the soundscape of Indian classical music. The second and more internationally recognized version of the Mohan veena was developed by Pandit Vishwa Mohan Bhatt, who modified a Hawaiian guitar to create a lap-style slide instrument capable of expressing the intricate nuances of Indian ragas.

Type of Instrument: The Mohan veena belongs to the family of plucked string instruments and is classified as a chordophone. Within the broader context of Indian classical music, it is considered a hybrid instrument, as it incorporates design features and playing techniques from multiple traditional and modern instruments. The original Mohan veena by Radhika Mohan Maitra was essentially a modified sarod, integrating aspects of the veena and surbahar to achieve a unique tonal quality. In contrast, Vishwa Mohan Bhatt’s version is a highly modified archtop guitar, adapted to be played lap-style with a slide, and equipped with a combination of melody, drone, and sympathetic strings. This version is also known as the Hindustani slide guitar, reflecting its method of play and its roots in both Indian and Western musical traditions.

Historical Background

The history of the Mohan veena is deeply rooted in the Indian subcontinent, with its origins tracing back to the mid-20th century. The first version of the instrument was developed in India in 1948 by Pandit Radhika Mohan Maitra, a distinguished musician and innovator. Maitra’s quest to create a new sound that combined the best features of the sarod, veena, and surbahar led to the birth of the Mohan veena. His instrument was officially named in 1949, marking the beginning of its journey in the world of Indian classical music. Maitra’s Mohan veena was primarily used in Hindustani classical performances, and he recorded numerous pieces for All India Radio, leaving behind a valuable archive of recordings that continue to inspire musicians and scholars. The second and more globally recognized version of the Mohan veena emerged in the late 20th century, thanks to the efforts of Pandit Vishwa Mohan Bhatt. Bhatt, an accomplished musician and composer, sought to adapt the Hawaiian guitar for Indian classical music by adding sympathetic strings and modifying its structure to suit the requirements of raga performance. His innovations resulted in an instrument that could faithfully reproduce the microtonal nuances and expressive slides characteristic of Indian music.

Bhatt’s Mohan veena gained widespread acclaim following his Grammy Award win in 1994, which brought international attention to both the instrument and the rich tradition of Indian classical music. The Mohan veena’s development thus spans the 20th and 21st centuries, with its roots firmly planted in the Indian subcontinent and its influence extending across continents through the work of pioneering musicians.

Construction and Physical Structure

The construction of the Mohan veena reflects its hybrid nature, combining elements from various stringed instruments to achieve a distinctive sound and playing experience. The original Mohan veena by Radhika Mohan Maitra was based on the sarod, featuring a wooden deck for enhanced resonance, a fretboard adapted from the sarod, an advanced string bridge inspired by the sitar, and an additional resonator on the neck edge reminiscent of the veena. This combination of features allowed the instrument to produce a deep, rich sound with a wide range of tonal colors and overtones. Maitra’s design prioritized the ability to perform glissando and microtonal techniques, essential for the interpretation of Indian ragas, while also addressing the limitations of the traditional sarod in terms of volume and sustain.

Vishwa Mohan Bhatt’s version of the Mohan veena is a highly modified archtop guitar, played lap-style with a slide. This instrument typically features 19 to 20 strings, including three melody strings, four drone strings, and 12 sympathetic strings. The melody strings are positioned on the treble side of the neck, while the drone strings are on the bass side, set at a lower height to allow for unrestricted playing of the melody strings. The sympathetic strings run underneath the melody and drone strings, passing through a separate level in the bridge to enhance resonance and sustain. The body of the instrument is constructed from high-quality tonewoods, such as a carved spruce top, mahogany back and sides, and a mahogany neck. The fingerboard is flat, fretless, and typically made of rosewood, allowing for smooth slides and precise intonation.

The Mohan veena is designed to withstand significant string tension, with the combined pull of the strings exceeding 500 pounds. This high tension contributes to the instrument’s powerful tone and projection, making it suitable for both acoustic and amplified performances. The inclusion of sympathetic strings, a feature borrowed from the sitar and other Indian instruments, adds a shimmering quality to the sound, enriching each note with a cascade of harmonics. The instrument may also be equipped with electronic pickups and output jacks for amplification, further enhancing its versatility in contemporary music settings. The overall design of the Mohan veena reflects a careful balance between tradition and innovation, enabling musicians to explore new sonic possibilities while remaining rooted in the rich heritage of Indian classical music.

Types of Mohan Veena

There are two primary types of Mohan veena, each associated with its respective creator and reflecting different approaches to instrument design and performance. The first type, developed by Radhika Mohan Maitra in the late 1940s, is essentially a modified sarod that incorporates elements from the veena and surbahar. This version is characterized by its wooden deck, advanced string bridge, additional resonator, and sarod-style fretboard. Maitra’s Mohan veena was designed to address the limitations of the traditional sarod, particularly in terms of volume and tonal richness, while retaining the instrument’s capacity for glissando and microtonal expression. The second and more widely recognized type of Mohan veena is the creation of Vishwa Mohan Bhatt, who transformed a Hawaiian guitar into a lap-style slide instrument suitable for Indian classical music. Bhatt’s Mohan veena features a combination of melody, drone, and sympathetic strings, a flat fretless fingerboard, and a body constructed from high-quality tonewoods. This version of the instrument has become synonymous with the term “Mohan veena” in the global music community, thanks in large part to Bhatt’s virtuosity and international acclaim. The instrument is often referred to as the Hindustani slide guitar, reflecting its method of play and its adaptation of Western guitar design for Indian musical purposes.

In addition to these two main types, there have been further innovations and adaptations by other musicians, such as Salil Bhatt, who developed the Satvik veena, a variation of his father’s Mohan veena. These instruments continue to evolve, incorporating new materials, construction techniques, and design features to meet the changing needs of musicians and audiences. The diversity of Mohan veena types reflects the instrument’s ongoing journey of innovation and adaptation, as it bridges the worlds of tradition and modernity in Indian classical music.

Characteristics of the Mohan Veena

The Mohan veena is distinguished by several key characteristics that set it apart from other stringed instruments and make it particularly well-suited to the performance of Indian classical music. One of its most notable features is its ability to produce smooth, continuous slides (meend) and microtonal variations (shruti), which are essential for the expressive interpretation of ragas. The use of a slide, typically made of metal or glass, allows the player to glide effortlessly between notes, creating a vocal-like quality that is highly prized in Indian music. This technique also enables the execution of intricate ornamentations, such as gamakas and andolans, which add depth and emotion to the music. The inclusion of sympathetic strings (taraf) is another defining characteristic of the Mohan veena. These strings are not directly played but vibrate in response to the main strings, adding a shimmering resonance and a rich tapestry of overtones to the sound. The sympathetic strings enhance the instrument’s sustain and create a sense of depth and complexity that is both captivating and immersive. The combination of melody, drone, and sympathetic strings allows the Mohan veena to produce a full, balanced sound that can fill a concert hall even without amplification.

The instrument’s construction, with its high-quality tonewoods and meticulous craftsmanship, contributes to its powerful projection and tonal richness. The flat, fretless fingerboard enables precise intonation and facilitates the execution of complex melodic passages. The Mohan veena’s design also allows for a wide dynamic range, from delicate, introspective phrases to bold, resonant climaxes. Its adaptability makes it suitable for both solo and ensemble performances, as well as for fusion genres that blend Indian and Western musical elements.

Playing Techniques and Sound Modifications

The Mohan Veena is played in a manner reminiscent of the Hawaiian slide guitar, but with distinct modifications to suit Indian classical music. The instrument is typically placed horizontally on the lap, and the player sits cross-legged, using the left foot to support the instrument. The left hand holds a steel or glass slide, which glides across the strings to produce the characteristic meend (glissando) and microtonal nuances essential in Indian ragas. The right hand employs a unique picking technique, often using the thumb, index, and middle fingers to pluck the melody, drone, and sympathetic strings. The little finger of the right hand is anchored on the pickguard, providing stability and ensuring precise articulation. A key aspect of the Mohan Veena’s sound is its 20-string configuration: three melody strings, five drone strings, and twelve sympathetic strings. The melody strings carry the main tune, while the drone strings provide a constant harmonic base. The sympathetic strings, which are not directly plucked, resonate in response to the played notes, creating a lush, reverberant sound. Players can modify the timbre by adjusting the pressure and angle of the slide, controlling the sustain and vibrato. The tuning of the sympathetic strings is often customized to the raga being performed, enhancing the instrument’s ability to evoke the desired mood and color.

Advanced techniques include rapid slides, gamakas (ornamentations), and intricate rhythmic patterns. The slide allows for seamless transitions between notes, a hallmark of Indian classical music. Muting techniques, both with the palm and fingers, are used to control overtones and prevent unwanted resonance, especially during fast passages. The combination of plucking and sliding, along with the interplay of melody and sympathetic resonance, gives the Mohan Veena its distinctive, ethereal sound.

Famous Compositions

The Mohan Veena has been featured in a variety of acclaimed compositions, both in traditional Indian classical contexts and in fusion music. One of the most celebrated works is the Grammy Award-winning album “A Meeting by the River,” a collaboration between Vishwa Mohan Bhatt and American guitarist Ry Cooder. This album showcases the instrument’s versatility, blending Indian ragas with blues and world music elements.

Vishwa Mohan Bhatt has also performed notable renditions of Indian patriotic songs, such as a solo version of “Jana Gana Mana” featured in A. R. Rahman’s album. The instrument’s evocative sound can be heard in film music, particularly in the interludes of the song “Narumugaiye” from the Tamil movie “Iruvar,” composed by A. R. Rahman. Bhatt’s work on the soundtrack for the Hindi film “Bawandar” further demonstrates the Mohan Veena’s adaptability to cinematic expression.

Salil Bhatt, Vishwa Mohan Bhatt’s son, has composed and performed numerous pieces on both the Mohan Veena and his own creation, the Satvik Veena. His albums and live performances often feature original compositions that blend classical ragas with contemporary influences. Harry Manx, a Canadian musician and disciple of Bhatt, has incorporated the Mohan Veena into blues and folk music, with compositions like “Reuben’s Train” gaining international recognition.

Most Influential Players

The most influential figure associated with the Mohan Veena is Pandit Vishwa Mohan Bhatt. He is credited with developing and popularizing the instrument, adapting it from the archtop guitar to suit the demands of Indian classical music. Bhatt’s virtuosity and innovative approach have earned him global acclaim, including the prestigious Grammy Award. His performances and recordings have set a benchmark for aspiring Mohan Veena players. Salil Bhatt, Vishwa Mohan Bhatt’s son, is another prominent exponent. He has expanded the instrument’s repertoire and introduced his own version, the Satvik Veena, which incorporates further design innovations. Salil’s international tours and collaborations have brought the Mohan Veena to new audiences worldwide. Harry Manx, who studied under Vishwa Mohan Bhatt for five years, has played a crucial role in introducing the Mohan Veena to Western audiences. His fusion of Indian classical music with blues and folk traditions has garnered a dedicated following and inspired many musicians to explore the instrument. Matt Malley, founder and bassist of the rock band Counting Crows, is also known for his proficiency on the Mohan Veena, further highlighting its cross-genre appeal.

Historical Performances or Concerts

The Mohan Veena’s journey into the limelight is marked by several landmark performances. Vishwa Mohan Bhatt’s debut and subsequent concerts at major Indian classical music festivals established the instrument’s legitimacy within the traditional music community. His collaboration with Ry Cooder for “A Meeting by the River” was a historic event, as it not only won a Grammy but also introduced the Mohan Veena to a global audience. Bhatt’s performances at international festivals, including WOMAD (World of Music, Arts and Dance) and various world music events, have been pivotal in showcasing the instrument’s capabilities. His concerts often feature elaborate improvisations on classical ragas, demonstrating the Mohan Veena’s expressive range. Salil Bhatt has continued this legacy, performing at prestigious venues across Europe, North America, and Asia. His collaborations with artists like Doug Cox (Dobro) and his participation in ensembles such as “Band of Gypsies” have further expanded the instrument’s reach. Harry Manx’s tours in Australia, North America, and Europe, where he combines Mohan Veena with vocals and harmonica, have captivated diverse audiences and contributed to the instrument’s growing popularity.

Maintenance and Care

Proper maintenance is essential to preserve the unique sound and longevity of the Mohan Veena. The instrument’s 20-string setup requires regular tuning, with particular attention to the sympathetic strings, which can easily go out of tune due to changes in temperature and humidity. Players often use fine tuners and pegs to achieve precise pitch, and it is common practice to check and adjust the tuning before each performance. The wooden body and neck should be kept clean and free from dust. A soft, dry cloth is typically used to wipe the surface after playing. The metal slide, a crucial accessory, should be kept smooth and free from corrosion to ensure fluid movement across the strings. String replacement is a regular task, especially for the melody and drone strings, which are subject to frequent plucking and sliding. Humidity control is important, as excessive dryness or moisture can affect the wood and lead to warping or cracking. Musicians often store the Mohan Veena in a hard case with silica gel packets to absorb excess moisture. Periodic checks for loose fittings, cracks, or wear on the bridge and tuning pegs are necessary to prevent long-term damage. Professional servicing by a luthier familiar with Indian string instruments is recommended for major repairs or adjustments.

Interesting Facts and Cultural Significance

The Mohan Veena is a product of cross-cultural innovation, blending the structure of the Western archtop guitar with the sonic aesthetics of Indian classical instruments. Its creation by Vishwa Mohan Bhatt in the late 1960s marked a significant development in the evolution of Indian music, enabling guitar-like instruments to perform the intricate ornamentations of ragas. There is historical debate regarding the name “Mohan Veena.” While Bhatt’s version is the most widely recognized today, the term was originally associated with a different instrument developed by Radhika Mohan Maitra in the early 20th century. Maitra’s Mohan Veena combined elements of the veena, sarod, and sitar, featuring a wooden deck, sitar-style bridge, and a fretless fingerboard. This earlier instrument was designed to achieve a deeper, more resonant sound than the sarod, and was used in classical performances, such as Maitra’s rendition of Bageshri raag at the All India Music Conference in 1937. The Mohan Veena’s distinctive sound, characterized by its rich overtones and sustained resonance, has made it a favorite for both traditional and fusion music. Its ability to mimic the human voice through slides and microtones aligns with the Indian aesthetic ideal of “gayaki ang” (vocal style), making it particularly expressive in rendering ragas.

Culturally, the Mohan Veena symbolizes the adaptability and innovation inherent in Indian music. It bridges the gap between Eastern and Western musical traditions, appealing to audiences across genres and geographies. The instrument’s presence in international collaborations and world music festivals underscores its role as a cultural ambassador for Indian classical music. Its use in film music and popular compositions has further cemented its place in contemporary culture. The Mohan Veena’s journey from a modified guitar in a small music school to a globally recognized instrument is a testament to the vision and artistry of its creators and exponents. Today, it continues to inspire musicians and listeners alike, embodying the spirit of musical exploration and cross-cultural dialogue.