Tanpura is always an accompanying instrument. It is not able to create any tone variations. Tanpura’s main purpose is to keep the performer in tune. It has four strings. The overall shape of Tanpura somewhat matches the shape of sitar, although the squash (Toomba) is a little bigger in the male Tanpura. Tanpuras come in many different sizes.

Tuning Tanpura:
Tanpura’s first three strings are steel strings and the fourth is a brass string. Only exceptions to this are the big Tanpuras. Then even the first string is a brass string. However, generally you can achieve any tuning with the steel strings.

a. First string: This string is tuned to the fifth (Pa) of the lower octave.
b. Second and third string: Just as sitar’s paired strings, these are also called ‘Jodi ke tar’. These are tuned to the keynote from the middle octave (Sa).
c. Fourth string: This is the fattest string of all and it is tuned to the keynote (Sa) of the lower octave.

Exceptions: As you see above that a Tanpura is tuned to the keynote and the fifth (first and fifth or ‘Sa’ and ‘Pa’). It creates a drone of fifths. The problem emerges when the Composition (Raag) you are about to perform does not have fifth. As we know that lots of Raags are Chhadav (hexatonic) or audav (pentatonic). If the fifth is Verjit (forbidden in ascending and descending) in a Raag then the first string is tuned to the fourth (Ma). Although ‘Ma’ and ‘Pa’ (fourth and fifth) cannot be completely absent from a Raag at the same time, some times one is missing and the other is a very weak in the given Raag. In those conditions the first string is tuned to the third (‘Ga’). If a Raag has a very inharmonic scale, the tuning of Tanpura has to be creative. As an example, When performing Marva Raag, the first string is normally tuned to the Shudh Ni (major senventh). The other three strings are never a problem because they are tuned to the keynote (‘Sa’) and a ‘Sa’ is never excluded from any Raag.

In professional situations, some performers use two Tanpuras. One is tuned to 1-4 and the other one is tuned to 1-5. With this tuning, every other note has a direct relation (minor or major 3rd) to Tanpura’s drones.

Playing Tanpura:
The middle finger plays the first string and the index finger plays the rest. Strings are played one after another. The speed of playing does not depend on the tempo of the song. Playing all four strings once, completes one loop of Tanpura’s continuously varying tone. Singers usually play Tanpura by themselves and the instrumentalists use an accompanist.

Twang:
Tanpura has a distinguish tone. This tone is achieved by setting the threads on the bridge. While a string is ringing, the thread is moved under the string to get the exact position where the string is touching the bridge. When the thread goes to that position the ring will get louder and you will hear a twang in the tone. How much of the twang you desire is matter of personal taste. The amount of twang can be adjusted by moving the thread.

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