Margazhi Notes: The pucca vadhiyams!

When you scan a sabha’s performance list, your eyes naturally settle on the violinist and the mridangist. Those are the two names we instinctively check for. But here’s the question this column wants to ask: why is the third name — the ghatam, kanjira or morsing artiste — still treated as an afterthought?

If anything, it is time we stopped calling them “ upa pakka vadhiyam ” and brought them firmly into the bracket of pakka vadhiyam.

These instruments add richness, punch and character to a concert. Yet they do not always find a place on stage. Why? “First reason is the budgets,” says a leading vocalist. A sabha secretary echoes the point: “The music season is still not a great paymaster, so when it comes to concerts, the artiste and organisation would rather stick to fewer commitments.”

Fair enough. But there is also a refreshing shift. Many younger musicians — now ruling the prime slots — actively prefer having three accompanists, sometimes even four.

THE ‘FULL BENCH’ GLORY DAYSThere was a time when “full bench” appeared boldly on concert posters. It meant mridangam, ghatam, kanjira and morsing sharing the stage. The effect was grand, the energy unmatched.

The word ghatam itself instantly recalls Vikku Vinayakram, whose fame transcends borders and whose UN concert with MS Subbulakshmi remains historic. His family is a percussion powerhouse — Subash Chandran (ghatam) and Selvaganesh (kanjira) being the most well-known. Their names alone can trigger applause anywhere.
“I’ve always been sad about the ghatam being unnoticed in older concerts,” says Chandrasekara Sharma. “Even in recordings it was pushed back. But my uncle Vinayakram sir and many legends helped people notice the identity of the instrument.”

Ghatam Karthick adds, “Beyond classical stages, I’ve tried my best to put my ghatam on the main stage with fusion concepts and international collaborations.”

WHY THE GHATAM GETS PICKED FIRST“I’ve always felt more ghatam is preferred,” says senior vidwan N Guruprasad. “It is a sruthi vadhiyam . It blends beautifully with the mridangam, and the tone, when perfectly played, is a treat to the ears. So, when musicians want a third accompanist, they mostly choose ghatam.”

But does preference vary with male or female singers? “There is no pattern,” clarifies senior kanjira vidwan KV Gopalakrishnan. “It is about the comfort zone. It’s not about the instrument—it’s about the playing. I know my instrument needs to be noticed, but I also need to remember I am accompanying a team, not playing solo.”

The kanjira, however, has its own irresistible magic. “Its tonality and vibration give a completeness to the concert,” says Anirudh Athreya. “And during the thani avarthanam , the audience gets to witness so much creativity. I personally feel every concert should have two percussionists— the default mridangam, and a ghatam or kanjira.”

Anirudh, Gopalakrishnan, Shree Sundar Kumar and BS Purushotham once formed the Kanjira Quartet, performing full-length concerts without melody or vocals. “I am very proud to have the surname ‘Kanjira Man’,” smiles Shree Sundar Kumar. “I enjoy both mridangam and kanjira, but this gives me that extra high.”

THE MORSING: ANCIENT, INTRICATE, UNDERPLAYEDThe morsing dates back over 1,500 years, rooted in northern folk traditions. “The vibrating ‘NGA’ sound is nothing less than meditation for me,” AS Krishnan once said. Few know that Vinayakram’s father, Hariharasharma, was himself a legendary morsing artiste. But the instrument is fighting for visibility today. “There are unnecessary stories like the tongue getting cut if played wrong,” laughs Sai Subramaniam. “Nothing lifethreatening happens. But the monetary return for a morsing artiste is dwindling. In some sabhas with 65 concerts, there won’t be even one morsing vidwan . We carry a legacy — we need to be on the centre stage.”

WHY NOT BRING THEM ALL BACK?Percussion is the heartbeat of a Carnatic concert. Ghatam, kanjira and morsing have worked their way from the back row to the front, proving that they can hold — and elevate — the main stage.

Fireworks during the thani avarthanam are guaranteed when two or more percussionists exchange ideas. So, why not bring that energy into every concert?
If not a full bench, at least a semi-circle.

Written By: Subhasree Thanikachalam'
Picture courtesy: Ram Iyer, msstribute.org, @saimorsingGet the latest entertainment updates from the Times of India, along with the latest Hindi movies, upcoming Hindi movies in 2026 , and Telugu movies.”