Madal - Nepalese Hand Drum
Introduction
The Madal is a two-headed unique cylindrical traditional hand drum of Nepal. It is the national percussion instrument of Nepal. It is played with both hands. This instrument is portable and small in size. Due to its shape and size, it is very popular and widely used across Nepal from diverse ethnic and caste groups in festival celebrations, life cycle rites, calendrical rites, and social gatherings.
Origin and Historical Development of the Madal
Scholars and experts of the Madal have different views and opinions on the origin and historical development of the Madal instrument. There is no consensus among scholars and experts on when and how the instrument came into existence. Some trace its origin to the ancient period and believe that the instrument was created by the Hindu god Shiva. They argue that the current form of the Madal has been developed from the Hindu god Shiva’s mridangam. Others believe that the Magar ethnic groups of Nepal are the pioneers of this instrument. They spread and popularized the Madal across Nepal. There are many other stories, beliefs, myths, and legends about the origin and historical development of the Madal. However, there is not any historical and archaeological evidence for these views. In the current context, the Madal has been an essential instrument for every Nepalese, from their everyday life to every part of their lifecycle rituals, local and national festivals, and socialization. It has been the backbone of Nepalese culture and heritage.
Parts of the Madal
The body of the Madal is commonly made from wood which is hollow inside. It’s called “Ghar”. It’s normally 13” to 18” in length and narrow (4” to 5.5”) on one end and wider (5” to 6.5”) on the other end. The two heads of the Madal are made of goat skin, commonly called “Dayan” and “Bayan”. In the middle of the goat skin on each head, there are black tuning pastes called “Khari”. The tuning pastes are made from a mixture of iron powder, ground rice, water, and rice plant ashes. The narrow side of the Madal produces high pitch sound and it is also called “Male” or “Bhale”. The wider side of Madal produces low pitch sound and it is called “Female” or “Pothi”. The goat skins on each head are weaved tight with ox-hide strips which is called “Matheri”. To hold the goat skins, long ox-hide strap––which is called “Tana”––is used to connect both heads with a zigzag pattern. Metal rings called “Rings” are placed on the ox-hide strap while connecting the two heads. The metal rings usually help to adjust the pitch produced from both sides. The part close to the “Matheri” is called “Chatti” and a plane skin part between “Chatti” and “Khari” is called “Maidan”.
How to hold the Madal?
Syllables of the Madal
Right Hand
Left Hand
Tang – Strike the middle of the small head’s “Khari” (black part) with the index finger of the right hand and remove quickly.
Tak – Strike the middle of the small head’s “Khari” (black part) with the right hand using three (middle, ring, and pinky) fingers and keep the fingers touching the “Khari”.
Ghin or Dhing or Ka – Strike the middle of the large head’s “Khari” (black part) with the left hand using four (index, middle, ring, and pinky) fingers and remove quickly.
Kha or Fat – Strike the middle of the “Khari” (black part) of the large head with the left hand using four (index, middle, ring, and pinky) fingers and keep the fingers touching the “Khari”.
Both Hands
Tam – Play Tang with the right hand and Kha with the left hand at the same time.
Dhim – Play Tak with the right hand and Ghin with the left hand at the same time.
Dhang or Jhyam – Play Tang with the right hand and Ghin with the left hand at the same time.
Rhythm
A wide range of rhythmic styles are played for the Nepalese hand drum Madal. These rhythmic styles are unique, and they represent a specific genre, region, song or dance style, and ethnic or caste group of Nepal. The rhythmic styles are often used to accompany traditional and folk songs across Nepal. The rhythms for the Madal are commonly found in 4 beat, 8 beat, and 6 beat cycles. There are two rhythmic styles which are widely popular and most commonly played for the Madal––Jhyaure and Khyali. Several other rhythmic styles for the Madal are composed based on Jhyaure and Khyali, such as Selo, Sangeeni, Sorathi, Samhala, Ghintamuni, Birahini, and Maruni.
1. Ghintamuni (Newari Taal – 4 Beats)
Ghintamuni is a 4 beat cycle rhythmic style played in Kathmandu valley by the Newar indigenous people. This rhythm is played on the Madal to accompany Newari traditional songs and dances.
2. Selo (Tamang Selo – 4 & 8 Beats)
The Selo rhythmic style came from the Tamang ethnic group of Nepal. This rhythm is primarily played on Tamang’s traditional instrument, called the Damphu, which is a one-sided frame drum that is large in diameter. However, Selo is equally popular on the Madal. Selo can be played in two different rhythmic cycles – one 4 beat cycle and the other 8 beat cycles.
3. Jhyaure (6 Beats)
Jhyaure is the most common rhythmic cycle played on the Madal. This rhythm is popular and played all over Nepal with some variations in its rhythmic speed based on the region where it is played. Jhyaure is played in 6 and 12 beat cycles. The 6 beat cycle is comparatively fast in tempo and played mostly in traditional and folk songs from the Western region of Nepal. The 12 beat cycle is slow in tempo and usually played in traditional and folk songs from the Eastern region of Nepal.
4. Sangeeni (6 Beats)
Sangeeni is a genre-specific rhythmic style. It has 6 beats. This rhythm is named “Sangeeni” for a traditional Nepalese female singing style practiced across the regions of Eastern Nepal. The Sangeeni rhythmic style is played in a slow tempo––90 – 110 bpm.
5. Birahini (6 Beats)
Birahini is 6 beat cycle rhythmic style played in a specific traditional singing style called “Birahini”. This rhythm is played in regions across the Eastern Nepal.
6. Khyali (8 Beats)
An equally popular rhythmic style like Jhyaure, Khyali is the most played rhythm on the Madal. In the majority of Nepalese traditional and folk singing, Khyali is the most commonly used rhythmic style. It has 8 beats in a cycle and is played at a medium to very fast tempo
7. Samhala (8 Beats)
The Samhala rhythmic style is named for the traditional singing style of Eastern Nepal called “Samhala”. It is a genre-specific rhythm and only used for this genre. It has 8 beats and is played at a medium tempo.
8. Maruni (8 Beats)
Maruni is also a genre-specific rhythmic style. It has 8 beats. It is played to accompany the “Maruni” traditional singing style. Interestingly, it is played at two different speeds––fast in the Western region genres and slow in the Eastern region genres. Apart from “Maruni”, it is also used for other singing styles like tappa, tyamkule and the like.
9. Sorathi (14 & 8 Beats)
Sorathi is an accompanying rhythmic style for the traditional “Sorathi” dance song style practiced by Gurungs, Magars, Tamangs, and other ethnic caste groups of people from Western Nepal. This dance song is based on a historical event, and it tells a story that took place during the history of Nepal through singing and dancing. The “Sorathi” dance song is performed in two different parts – the first part uses a 14 beat cycle rhythmic style called “Laami Taal” and the second part uses a 8 beat cycle rhythmic style called “Choti Taal”.
a. Laami Taal (14 Beats)
b. Choti Taal (8 Beats)
