In This Article
Introduction: The Rhythmic Trinity
In the architecture of a Carnatic music concert, the mridangam reigns as the principal percussion instrument — the rhythmic anchor around which all else revolves. Yet flanking the mridangist, often seated to the right side of the stage, one finds a fascinating constellation of subsidiary percussion voices: the ghatam, a clay pot of ancient lineage; the kanjira, a diminutive frame drum of extraordinary expressiveness; and the morsing, a jaw harp of deceptive simplicity. Together, these three instruments constitute what rasikas affectionately recognise as the supporting percussion trio of Carnatic music.
Their role is not merely decorative. Each instrument brings a distinct tonal colour and rhythmic personality that complements the mridangam, fills sonic gaps, and adds layers of textural interest to the tani avartanam — the percussion solo that forms a highlight of any full-length concert. While they are classified as upapakkavadyam (supporting percussion), the greatest exponents of these instruments have transcended the notion of mere accompaniment, commanding audiences with virtuosity that rivals any soloist on stage.
Ghatam: The Ancient Clay Pot
The ghatam is arguably the oldest percussion instrument in the Carnatic tradition, with references to clay pot drumming appearing in Tamil Sangam literature dating back over two millennia. It is, at its essence, a fired clay pot — but one crafted with extraordinary precision. The finest ghatams are traditionally made in Manamadurai, a small town in Tamil Nadu's Sivaganga district, where potters from the Velar community have perfected the art over generations. The clay is mixed with brass or copper filings and fine sand, then shaped, dried, and fired in a kiln. The resulting instrument produces a rich, metallic resonance that is unmistakable.
The player holds the ghatam against the stomach, striking its outer surface with the fingers, thumbs, palms, and wrists. The mouth of the pot is pressed against the bare midriff to create a distinctive bass tone — the gumki — achieved by modulating the air cavity. Pitching a ghatam is a matter of careful selection; the instrument cannot be tuned, so artists typically carry several pots of varying pitches to match the sruti of the main artist.
The modern ghatam tradition owes an immeasurable debt to Alangudi Ramachandran (1918–1988), who is widely credited with elevating the instrument from a village curiosity to a respected concert presence. His disciple Vikku Vinayakram (T. H. Vinayakram, born 1942) catapulted the ghatam to international fame, most notably through his collaboration with John McLaughlin's Shakti in the 1970s, which introduced the instrument to global audiences. Vinayakram was awarded the Padma Shri in 2002 and the Sangita Kalanidhi by the Music Academy, Madras, in 2012 — a rare and historic honour for a percussionist, let alone one playing a supporting instrument. His sons, V. Selvaganesh and V. Umashankar, have continued the family legacy with distinction, the former gaining renown through Remember Shakti and contemporary world music collaborations.
Other notable ghatam artists include T. H. Subash Chandran, Giridhar Udupa — known for his innovations and cross-genre explorations — S. Sunil Kumar, and N. Guruprasad.
Kanjira: The Mighty Frame Drum
Few instruments in world music pack as much rhythmic sophistication into so small a frame as the kanjira. Measuring barely seven inches in diameter, this single-headed frame drum consists of a circular wooden frame — traditionally made of jackfruit wood (Artocarpus heterophyllus) — with a single pair of small metal jingles (or discs) set into the frame, and a drumhead made from the skin of the monitor lizard (Varanus bengalensis). The lizard skin gives the kanjira its characteristically warm, deep tone with remarkable sensitivity to pressure and moisture. Due to wildlife protection regulations under the Indian Wildlife Protection Act of 1972, synthetic alternatives and goatskin heads have increasingly been explored, though traditionalists maintain that no substitute fully replicates the original timbre.
The kanjira is played with the right hand striking the skin while the left hand supports the drum from behind, with the left-hand fingers pressing and releasing the skin to modulate pitch. This pitch-bending capability gives the kanjira an almost vocal quality, allowing the player to produce distinct bol-like sounds: ta, din, tom, and a range of overtones. The jingles add a shimmering layer of metallic brightness.
The instrument's modern concert history is inseparable from the name of Manpoondia Pillai (late 19th to early 20th century), who is regarded as the pioneer of kanjira in classical performance. However, it was the legendary G. Harishankar (1953–2002) who transformed the kanjira into a vehicle for breathtaking virtuosity. Harishankar's premature death at the age of 49 robbed Carnatic music of one of its most inventive percussionists. His playing during tani avartanams was renowned for its fiery exchanges with mridangam maestros such as Palghat Mani Iyer, Umayalpuram K. Sivaraman, and Karaikudi Mani.
Among contemporary exponents, Ganesh Kumar, B. S. Purushotham, and Anirudh Athreya carry the tradition forward. The kanjira has also found enthusiastic adoption in world percussion circles, with artists like Glen Velez incorporating it into frame drum traditions globally.
"The kanjira is proof that the size of an instrument has no bearing on the size of its musical universe." — attributed to G. Harishankar
Morsing: The Jaw Harp's Carnatic Voice
The morsing (also spelt murchang or morchang in other Indian traditions) is a small metallic jaw harp, typically forged from iron or brass. It consists of a horseshoe-shaped frame with a thin metal tongue (lamella) in the centre. The player holds the frame firmly against the front teeth, using the oral cavity as a resonating chamber, and plucks the tongue with the index finger of the right hand. By altering the shape of the mouth, the position of the tongue inside the mouth, and the breathing pattern, the artist produces a mesmerising array of rhythmic sounds — from deep, buzzing drones to sharp, percussive attacks.
The morsing's tonal character is unlike anything else on the Carnatic stage. Its drone-like quality anchors the rhythmic flow, while its capacity for rapid articulation allows it to mirror complex korvais and mora patterns during the tani avartanam. The instrument blends especially well with the ghatam, and concerts featuring both instruments alongside the mridangam create a percussion section of remarkable richness.
Among the great morsing exponents, the name of L. Shankar (not to be confused with the violinist of the same name) from the mid-20th century is frequently cited as foundational. In more recent decades, A. Nagarajan, Ganesh Kumar (who doubles as a kanjira artist), and Rahul Ranganath have earned recognition for their artistry. Perhaps the most prominent contemporary morsing artist is K. S. Jayaram, whose sophisticated technique and musicality have demonstrated that the morsing can hold its own even in extended solo passages.
- Construction centres: Morsings of high quality are crafted by specialist blacksmiths in parts of Rajasthan and Tamil Nadu, with each instrument hand-tuned for pitch.
- Tuning: Unlike the ghatam and kanjira, the morsing's fundamental pitch is relatively fixed, though skilled players can manipulate perceived pitch through embouchure adjustments.
- Physical demand: Extended playing requires considerable stamina, as the vibrations transmitted through the teeth and skull can be physically taxing.
Together, the ghatam, kanjira, and morsing represent a triumvirate of rhythmic colour that is unique to the Carnatic tradition. They remind us that Indian classical music is not merely a melodic art but a deeply percussive one — a tradition in which rhythm is explored with a sophistication and inventiveness that few musical cultures can rival. For the attentive rasika, the interplay between these instruments and the mridangam during a tani avartanam remains one of the most thrilling experiences a Carnatic concert can offer.