SINDHI MUSIC

Music from Sindh province is sung in Sindhi, and is generally performed in either the "Baits" or "Waee" styles. The Baits style is vocal music in Sanhoon (low voice) or Graham (high voice). Waee instrumental music is performed in a variety of ways using a string instrument. Waee, also known as Kafi, is found in the surrounding areas of Balochistan, Punjab, and Kutch.

Sindhi musical instruments are inspired by the village life and from its natural environment. They originated as village folks mused to the multiple symphonic sounds of the Sindhi water wheel and the moving bullock cart. Hence, these instruments are really simple and made from natural and readily available materials such as clay, hide, wood, wild reed and different varieties of pumpkin and gourd.

Some of Sindh’s indigenous instruments include Borrindo, Nafeel, Chang, Nadd or Narr, Sharnai, Bansri, Murli, Surando, Dambooro, Yaktaro, Gharro (Dilo), Alghozo, Banjo andPava or Beenoon.

The Borrindo is an ancient simple instrument made out of clay can be regarded as the most ancient musical instrument of the Lower Indus Valley. In the western world it is known as Ochirina. This simple hollow clay ball is made of soft alluvial clay available in abundance in the central Indus Valley and has been used in its simple unbaked form since long. Since they are so simple to make, even children can make them however adults make large borrindos, put pottery designs on them and bake them which are the later evolved forms of the folk instrument.
It is very easy to play due to which it is quite popular among youth which is played while grazing the cattle. It has 4 holes on it, 1 is larger than the others and the other 3 are arranged in an isosceles triangle form. It is played by blowing horizontally in the large hole and finger tips placed on the smaller holes to regulate sound notes.

The Dilo and Ghaghar are also baked clay instruments. Dilo is a baked earthen jar of an average size. A bigger jar bulging at its sides and having a shorter neck is known as Ghaghar. This is a special variety of the Dilo and is made to order. The clay for these music instruments is specially prepared by the potter and pressed to delicate thickness all over. These are rhythm producing instruments and a variety of tals are produced by the beats of the hands. One hand strikes on the side and the other strikes on the mouth of the jar. Some accomplished players of Dilo and Ghaghar are Mitho Khan Baloch and Ahmed Mirbahar.

The Dilo or Ghaghar are traditionally played to the accompaniment of Yaktaro. As the name implies, Yaktaro has traditionally been a single-stringed instrument however, in its sophisticated form it has two strings. The Yakhtaro is made of dried pumpkin, a long wooden rods and fine steel strings. Different types of rhythm structures or tals can be produced by soft measured touches of the tip of the forefinger to the string. These rhythm structures include teen-tar, kalwarro, dhadhro, etc. Different pitches on the tone are made by tightening or loosening the string by winding it on the peg. Syed Noor Shah of Tando Allahyar was a renowned singer who excelled singing Kafis on the Yakhtaro.
Yakhtaro players usually use jingling bells to enhance the rhythm effect and two instruments used for it are Dando and Chaparoon or Kharrtaloon. A Dando is a wooden rod of 2 to 2 ½ feet long and one inch in diameter. At one end the jingling bells are stringed and fastened by passing the string through a hole pierced into the rod. A thin circular piece of leather placed under the bells separates the bells from the rod and serves as a holder for the player’s hand. It is played by means of measured side-way jerks of the hand. Syed Azam Shah, an eminent Kafi singer introduced and popularized the use of the Dando and used to play it with great skill.

Chaparoon or Kharrtaloon are a pair of rectangular wooden pieces which are by one hand and flapped together by the opening and closing action to makes measured beats and produce a variety of rhythms structures. These wooden pieces are about 6 inches long, 1 ½ inches wide and 3 centimeters in thickness. Well known Kafi and Kalam singers who excelled in playing these instruments are Jalal Chandio and Faqir Ghulam Haider.

Traditional players simultaneously play the Yaktaro with one hand and the Dando and or the Chaparoo/Kharrtaloon in the other while singing along too.

Narr, a common traditional instrument of Sindh and Baluchistan and of Iran and Turkey and popularly known as the lover’s flute is made out of reed plants. It is made from sacho narr or genuine reed or kangore which grows in the hilly areas of Kohistan in Sindh or beyond in beds of hilly torrents and springs in Baluchistan. The essence of its music lies in two basic varieties Phook and Gur. Phook is supposed to be the lover’s call to the beloved it’s the edifice and reprents the thematic music whereas Gur is the expression of the feelings of love in lyrics, signifies the base or foundation and represents the non-thematic music. The Sindhi Narr has four holes where as those played in Turkey have 6 holes and hence are more flexible. This simple instrument is yet the most difficult one to play. This is because the player has to blow horizontally into it to make some sound.

The origin of the Narr is associated to the love of Zulekha for Yusuf therefore traditionally the Narr and its music are associated with love, sorrow and separation. According to traditional lore, Shams of Tabrez is the first one to use the Narr. According to another tradition, the Narr’s sound is sorrowful because of the trials and tribulations it goes through. The trials and tribulations begin when the reeds stalks are full grown. They are cut and separated forever from their companions. Its green leaves are cut off and it is made hollow from the inside. Then, it is wrapped into rags which are burnt slowly leaving red scars over the reed. For the finally touch, using a red hot iron bar holes are pierced in it. Famous poets like Shah Abdul Latif Bhitai and Rumi have mentioned the reed’s suffering in their memorable verses as well.

Shah Abdul Latif Bhitai says:

‘As the reed cries aloud while suffering in pain, So is heart afflicted in love’s strain’.

Maulana Rumi in the opening verse of the Mathnavi says:

‘Listen to the Nai what story it’s telling, Of the pangs of separation it’s complaining’.

Different patterns of music notes on the Narr structured in a scheme by the great master Ganhwar Chahvan are Roop or Sur, Katth, Murhalo or Morhalo, Kharaz, Phook, Nutt and Phookun-jo-Katth. Different regional schools of Narr are Narey-jo-Narr, Larr-jo-Narr, Jati-Thattey-jo-Narr and Uttar-jo-Narr.

Bahram Jamali is the most renowned player of the Narr who won his lady love, Sabul by its power as she became a theme for him and a new chapter in Narr music known as Sabul-joon-phookon.

Naghara is the Sindhi form of the Arabic Naqqarah and consists of a sizable hemispherical baked earthen bowl. It has a specially treated skin fastened around the rim with strong strings on the open side which are tightened over the backside of the nagara in a parallelogram design form. A pair of nagara makes up the music band. One called the nar is meant for low pitch beats and the other for high pitch beats is called the zeel. The nagara is played using short wooden sticks called damka that are somewhat bending outward on the upper end are used to beat the nagara. Different rhythm structures are played using the front, side, back hand and cross strokes and the pitch are changed using hard or soft strokes.

Earlier it was played by a way of salutation at the royal porch. Now it played usually during Muharram, commemorating the martyrdom of Imam Hussain (A.S) and this rhythm known as dhadh or matam is played on huge nagaras used in olden days for announcing the beginning of a war.

Chung or Chaang is a simple but sophisticated sounding musical instrument made from iron. It has been played by the goat-herd and the cow-boy in the villages from long. The Chung has an outer frame, within which there is a kind of thin elastic tuning fork which has its end going upwards. It is played by keeping the frame within the lips keeping the jaws little open and vibrating the tuning device by soft backward strokes of the forefinger. A variety of rhythm patterns are produced by combining measured strokes in slow or quick succession and appropriate adjustment of the tongue position within the mouth.

Kanjhyoon or Talyoon, popular in the eastern Sanghar and Tharparkar districts of Sindh is a pair of small circular brass discs about 2 to 3 inches in diameter. It is played by holding each piece in one hand and striking the two against each other in measured strokes to produce a variety of rhythmic beats. It is played to accompany both vocal and instrumental music.

Duhl is the Sindhi drum. The traditional type of duhl is quite large in size and when beaten can be heard till far however nowadays smaller duhls are used. Historical evidence shows that the Duhl formed a part of the Sindhi Orchestra known as ‘Duhl & Sharnai’ in the early 8th century A.D. History also narrates that in 713 A.D, when Muhammad Bin Qasim was proceeding towards Aror after defeating Raja Dahar, the Samma community Chiefs gave him a reception and their musicians had played music of the ‘Duhl & Sharnai’ Orchestra.

The Duhl has a complex system with which it is made and needs to be understood to play it. It involve a sound chamber, this is made out of a mango tree by hollowing a piece of a small trunk. Goat skin treated for this purpose is added to the drum sides and two circular elastic rims, one thinner and one thicker put around them to fix it. The inner and thicker rim is called kunnir and the outer and thicker one is called bacho. These are tightened with the means of strong and thick cotton yarn strings called Kashsha that is tied all over the body of the drum.

The pitch and tone need a different setting. The drum has two sides, the larger drum side is known as bum and the smaller drum side is known as tali. To raise the sound pitch, the skin used for the bum is plastered from the inside with a mixture of dhoop and mustard oil cooked together to make the rail. Drum-sticks are used to beat the drum. These are called daunko which is made of babool or the kahoo wood.

Professional players of the Samma community have also been patronized for the early advancement in the composition of the rhythmic beat structures on Duhl. This is because several terminologies indicate so such as Sammatka Trika, Sammathka Akhar and Sammatka Boala. Further contributions include the Dadho Tar perfected during the Samma period and during the Kalhora and Talpur period it was further developed for social feasts. With the addition of the Tallu Tar, it came to be known as the ‘Baloch ko Duhl’. Shadmano is a distinct feature of this system of tals. The word Shadmano has a Persian origin and means rejoicings. It got popular as it was particularly at the time of the king’s advent to the court. After Persian language became a court language during the Samma period, this indigenous tar got a new name Shadmano.

Duhl is a multipurpose instrument and played in different styles for different purposes on different occasions. In earlier times, it was used for administrative and organizational purposed by chiefs of primitive communities to assemble, inform and lead members in peace and war. This early tradition has survived in Sindh to date and the Duhl is beated for general announcements and giving calls to alarm people or in preparation for departure. With different beats, there are 3 types of ‘call’ which are the Saddu, Khatrey-jo-Saddu and Sanjja or Ghaee. Specific beats for march and attack during battles are Chalo or Chaali and Chalto.

Duhl is played for several cultural activities for which there are different beat structures specified. These include Raand which literally means sports and now played on ceremonial occasions, Malakhrrey-jo-Duhl is played for Malha or Sindhi wrestling, Bazi-jo-duhl is played by professional acrobats while performing their feats, Nach, Jhummir and Wahval or Jhamri which are played to accompany Nach, Jhummir and Hanbochhi dances, Eid-jo-duhl ¬played on Eid festivals, Samah-jo-duhl played to accompany devotional Samah dance, Dhadh or Maatam originally played to mourn the death of war heroes, the ruler or other prominent personalities is now used in Muharram to mourn the tragedy of Karbala, Naubat to pay homage to the Prophet (SAWW) or a saint and Dhammal for accompanying devotional dance known as Masto or Mauj.

Duhl is also played on marriage ceremonies at appropriate times and particular styles as marriages last for two or more days. Duhl played along with different instruments is known as Dass. Different styles of playing the duhl include Haththu style and Chhanbi style. Some eminent players include Allah Divayo, Allah Baksh, Jhando and Yaru, Safar Manganhar, Jiando Faqir, Rajab of Bubak, Haji Faqir and Yakub Manganhar of Matiari.

Sharnai is also old indigenous instrument that was used along with duhl back to the early eighth century A.D. Earlier it was known as the Karnai, the word has a Persian origin. In other parts of the sub-continent it was known as Shahnai.

Sharnai is made from the wood of a very old Kirarr tree and its sounding device is made from Kangaro reed. The Sharnai has eight holes in a straight line on it. The ninth hole called babiho is from below on the back side.

The instrument is used in three varieties namely Ghazzi, Sharnai and Mutta. Ghazzi is used for playing mourning tunes i.e. Osara on the occasion of Muharram and is the smallest in length. Sharnai is essentially the musical instrument of the Lower Indus and of medium size. Whereas, Mutta the longest in length and is popular in the upper northern areas up to Multan.

Considered to be an instrument par excellence for playing both popular and classical music, Sharnai is the traditional form has been played along with the Duhl in the Dhammal, Aulang, Shadmano and Naudhahi tals schemes. In this scheme, Sharnai plays the Shadrangi Khayal. In the Dass marriage scheme Sharnai plays different varieties of marriage songs i.e Sihra or lada.

Mevo and Mitho were the best Sharnai players during the 19th century. Other eminent players include Khammu, Wasand, Piral, Muso and Khuda Bakhsh, Anban Faqir and Haji.

Surando, is common to Sindh, Baluchistan and Frontier regions. Derived from the Persian word surayindah which means ‘the producer of tunes’, it is called Saro in the Baluchistan region and Sarindah in the Frontier region.

Surando is made out of wood. All sorts of wood are used in its making however, the Lahirro wood serves best for an excellent sound chamber. In its simplest form the Surando has 5 to 7 strings. The more developed type has 8 to 9 strings and is more common. Some players use the 11 to 13 strings Surando as well. All the strings are made of steel except the saggo, which is the second string from the left. It is referred to as ‘the queen string’ by Shah Abdul Latif and is the key string which is made out of gut, which is lamb or sheep intestine called rodo.

Since long, the Surando has been played by charans, mangatas and manganhars which are different professional Sindhi bards. When handled by master musicians, the Surando has a devastating effect. Wandering minstrels go around playing the music and use the appeal of the Surando music to test people’s magnanimity and munificence. A famous incident to support this is the incident of Kanghar, the Samma Chief who was the ruler of Junagadh. An accomplished bard, Bijal by playing the Surando music had such an influence on him that when he asked for the king’s head as a reward, Kanghar sacrificed his life to pay homage to the high art.

The Sindhi classical poets, Shah Inayat and Shah Abdul Latif have mentioned this tradition in the poetic theme of ‘Sorath and Rai Diyach’. Shah Abdul Latif expresses the words of Kanghar about the power of the music and the master musician’s demand’s worth as:

‘If on my shoulders I had heads more than one
I would have cut each one and spread none
Alas! I have but one head alone
What a poor recompense is the single one.’

Renowned Surando musicians include Bijal, Ali Muhammad Langho, Achar Faqir and Khan Macchi.

Murli, known as Pungi outside Sindh has been mainly used by snake charmers all over the Indo-Pak subcontinent. It developed in Sindh as a ‘an instrument of music’.

Murli consists of two parts, the upper and the lower. The upper part which is made out of a variety of gourd, dried and hollowed for this purpose is called murli and the lower part made out of two reed pipes is called per. The reed pipes in the per are joined together in a double barrel form and inserted into the main sound chamber from below. It is then adjusted firmly by means of thick wax.

A murli is played by blowing wind into the murli and adjusting finger tips on the eight holes present at the per. The right reed of the per which has two holes is known as Madi Sur ji nail, which means the pipe of feminine tune. The eight holes of the left reed pipe are known as Shahid, Wichu, Ti-Tari, Murhalo, Sur, Baach, Dhukkar and Cheech. Traditional music styles of murli are Dhammal and Lahro. Dhammal has two kinds namly Gogay-poti and Sadhaeen-poti. Lahro also has two kinds, these are Naro or Nar and Gajishahi Lahro. Master players of murli include Misri Faqir, Muhammad Faqir Dal, Qadir Buksh Chauhan and Iqbal Jogi.

Pava or Beenu, popularly known as Alghoza is the instruments which pairs two flutes together which are played together. This double flute is historically a reminiscent of the bia-nai, the ancient Persian instrument. The two flutes are known as the nar (male) and madi (female) and are usually of the same size and length. The madi has 12 holes and used for spelling of the melody. Only the upper 6 holes are used to manipulate the melody.

Up to the 1920s, the music played on Pava or Beenu consisted of Lahra and Phookon. Some accomplished players include Sonaro, Khan Mohammad and Dur Mohammad, Uthman Khunejo, Abdul Hakim Sheikh and Mohammad Yusuf Khaskeli.

Damboor of Latif was made by Shah Abdul Latif for the new music institution that he found. It was originally invented in Eygpt. It travelled through Persia and Middle East to reach the Indo-Pak Subcontinent. It was originally a chau-tara¬, which means it had four strings as used by early Arabs. Latif added the 5th string to his damboor. This string is called the ‘Zuban’ of the damboor and spells out the melodies.

Tamar Faqir, sang Latif’s poetry on the surs of Latif as a leader of the group of musicians and the Tamar’s damboor is still preserved at the mausoleum at Bhitshah.

Danburo is a small-size instrument that is a traditional instrument of the hilly Kohistan and Lasbela regions. It has a small chamber and along tail called Kamach or Kamachi. It has three steel strings. Janok is the wooden piece stroking which it is played. There are also 6 bunds or ring marks along the rod. The danburo has been played to sing to popular folksongs such as Moro, Ma’dhoor, Wisal, Zeergat, Shahaap, Loghai, etc. Renowned players include Ber Mananhar, Faqiro and Dhanu.