Evolution of musical instruments - Shehnai

History bears testimony to the fact that a number of musical instruments, which earlier on had originated from a particular country, were used later by the people of another geographical regions where they ultimately became extremely popular. Woodwind instruments shehnai, clarinet and string instruments violin and guitars are some examples of this trans-national cultural pollination.
A Pakistani orchestra, like its Western counterpart, generally consists of four different sections of musical instruments. These are the strings, the woodwinds, the brass and the percussion sections. Whereas a western orchestra is heavily titled in favour of brass section, a Pakistan orchestra lays greater stress on string and percussion instruments.
A majority of musical instruments in a Pakistani orchestra like violin, mandolin, guitar, double bass, cello, clarinet, saxophone, trumpet, piano and vibraphone are all of western origin but have now become an ineluctable component of a Pakistani ensemble. Indigenous components of a Pakistani orchestra are the almost extinct like Sarangi, Flute, Tablas, Sitar, Sarod, Dholak and Taanpura.
Of the four families of woodwind instruments, only flute and its cousin Shehani can be regarded as indigenous musical devices although clarinet too is now accepted as a local instrument. Clarinets, may be pointed out, are not only made and used in Pakistan but also are exported in large numbers to other countries.
Woodwind instruments have a long history. They are the descendants of the pipe and reed instruments of ancient eastern civilisations. After their introduction in Europe long ago, they went through a process of gradual transformation to acquire the shapes in which they are now available.
They are extremely helpful in adding tonal colours to orchestral range and are effective in creating congenial environment and moods. However, they are not as extensively used, as are string instruments.
Shehnai, like several other woodwind instruments, is used as a component of an orchestra as well as an instrument for the rendition of solo classical recitals. Regrettably, however, this delicate instrument is slowly fading into historical oblivion, as its use has now been restricted only to the creation of certain background effects in radio, TV plays and films.
Shehnai is believed to have infiltrated into sub-continental melodic ethos from Central Asia, where it is known as surnai. Played to the accompaniment of a naqqra and a zeel, which are used as percussion instruments, it is so much in vogue in India these days that now it has erroneously been claimed as an indigenous instrument.
B.C. Deva in his book, Indian Music, has made the following observation: "The double-reed oboes of India have now earned a world-wide repute through the shehnai. But it is common in this country as a very ubiquitous instrument, amongst the tribesmen as also on the concert dais.
It also goes under various names...we do not know how indigenous this instrument is..." Shahid Ahmed Delhvi in his article, "Hamari Mauseeqi Kay Saaz" in the music number of the defunct magazine Qand, has claimed that at one time it was known as Seenai after the name of its inventor Bu Ali Seena (Avicena). But the late author did not cite any reference in support of his contention.
Shehnai, is a highly developed reed instrument. Its embouchure consists of double pieces of reeds resembling a bassoon but rather roughly made, wider in proportion to its length and mounted like that of an oboe on a short metal staple, which is fixed into a long cylinder, enlarging downwards and looking like a cup or a bell.
It has usually seven holes on the side of the cylinder in line at intervals roughly corresponding to one of the sub-continental scales. As one blows rapidly into the reeds the air passing through them makes the aperture close and open, which gives an incisive character to the tones rich with upper partials, and endows it with a capacity of considerable gradation of tone. It sounds particularly melodious when it is played in a medium pitch. (B.C. Deva, Indian Music)
To go from one pitch to another on a Shehnai requires variations in the pressure of the lips and breath. This demands great musical control and sensitivity without which it is not possible to master the art of playing Shehnai Shenai, though difficult to play, can be and is being used in the rendition of several genres of classical music.
Benaraswaley Ustad Bismillah Khan has taken this instrument to every nook and cranny of India by demonstrating his ebullient skill in using it for all kinds of creative melodic expression, including classical music. In Pakistan, however, there are only a handful of musicians who use Shehnai to give vent to their creative expressions.
The only musician worth a mention was late Ustad Aurangzeb Khan, better known as Rangi Khan who, in addition to playing a clarinet, also used Shehnai to demonstrate his creative ingenuity. His son is currently being groomed to pursue the family profession. In Pakistan, a number of other instruments like Tooti and Alghoza are also used, mostly in the rural hinterland, where musicians play these at village get-togethers and annual fairs.