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Tambura
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North Indian Tanpura (left) used as a drone to accompany sarod recital.

for the river in Romania, see Tambura River. For the mountain in Italy, see
Monte Tambura.

This article is about the Indian fretless drone lute. The New Grove Dictionary of Music[1]
also assigns the term to the Eastern European variety of saz: for this see Tamburitza. For
the general type, see Tanbur.

The tambura (Devanagari: तमपूरा) is a long necked plucked lute, a stringed instrument
found in different versions in different places. The tambura (South India), tamburo
(Gujarati), or tanpura (North India) in its bodily shape somewhat resembles the sitar, but
it has no frets, as only the open strings are played as a harmonic accompaniment to the
other musicians. It has four or five (rarely, six) wire strings, which are plucked one after
another in a regular pattern to create a harmonic resonance on the basic note (bourdon or
drone function).

Tanpuras come in different sizes and pitches: bigger "males" and smaller "females" for
vocalists and yet a smaller version that is used for accompanying sitar or sarod, called
tamburi or tanpuri. Male vocalists pitch their tonic note (Sa) to about C#, female singers
usually a fifth higher. The male instrument has an open string length of approx. one
metre, the female is sized down to 3/4. The standard tuning is 5881, sol do' do' do, or in
Indian sargam: PA sa sa SA. For ragas that omit the fifth, the first string will be tuned
down to the natural fourth: 4881 or Ma sa sa Sa. Some ragas require a less common
tuning with shuddh NI (semitone below octave sa) : NI sa sa SA. With a five-string
instrument, the seventh or NI (natural minor or major 7th) is added: PA NI sa sa SA
(57881)or MA NI sa sa SA (47881). The name 'tanpura' is probably derived from tana,
referring to a musical phrase, and pura which means "full" or "complete". Both in its
musical function and how it works, the tanpura is a unique instrument in many ways. It
does not partake in the melodic part of the music but it supports and sustains the melody
by providing a very colourful and dynamic harmonic resonance field based on one
precise tone, the basic note or key-note. The special overtone-rich sound is achieved by
applying the principle of jivari which creates a sustained, "buzzing" sound in which
particular harmonics will resonate with focused clarity. 'Jiva' refers to 'soul', that which
gives life. What is implied is that an 'animated' tone-quality is the idea which the tanpura
embodies. The principle of jivari can be likened to the prismatic refraction of white light
into the colours of the rainbow, as its acoustic twin-principle at work.

To achieve this effect, the strings pass over a wide, arched bridge-piece, the front of the
bridge sloping gently away from under the strings. When the string is plucked, it will
have an intermittent periodical contact with the bridge at a point close to the front edge.
This intermittent grazing of string and bridge is not a static process, as the points of
contact will gradually shift, being a compound function of amplitude and the curvature of
the bridge and string tension. When the string is plucked it has a large amplitude, moving
up and down and contacting the bridge on the down-phase. As the energy of the string's
movement gradually diminishes, the contact point of the string with the bridge slowly
creeps up the slope to the top of the bridge toward point zero when the string has finally
come to rest. (depending on scale and pitch, this can take between 3 and 10 seconds) This
dynamic sonic process can be fine-tuned using a cotton thread between string and bridge.
By shifting the thread minutely, the whole dynamic process of the grazing contact is also
shifted to a different position on the bridge, thus changing the harmonic content. Every
single string produces its own cascading range of harmonics and at the same time builds
up a particular resonance. Evidently, this generates a diversity of harmonic possibilities.
According to this refined principle tanpuras are most attentively tuned to achieve a
particular tonal shade in function of the intonation-related qualities of the raga.

These more delicate aspects of tuning are directly related to what Indian musicians call
'raga svaroop', which is about how very characteristic intonations strengthen the tonal
impression of a particular raga. The particular set-up of the tanpura with the adjustable
sonic-prismatic function of curved bridge and thread made it possible to explore a
multitude of harmonic relations produced by the subtle harmonic interplay of four strings.
Theoretically, at least, this is what the instrument was designed to do. However, it seems
that this degree of artistry is slowly being eclipsed by the common use of the readily
accessible electronic tanpura, which is not capable of this natural diversity as it produces
one 'standard' sound per setting.

Tanpuras are designed in three different styles:

 • Miraj style: the favourite form of tanpura for Hindustani performers. It is usually
between three to five feet in length, with a well-rounded resonator plate (tabli)
and a long, hollow straight neck. The round lower chamber to which the tabli, the
connecting heel-piece and the neck (dandh) are fixed is actually a selected and
dried gourd (tumba). Wood used is either tun or teak, bridges are usually cut from
one piece of bone.
• Tanjore style: this is a south Indian style of tambura, used widely by Carnatic
music performers. It has a somewhat different shape and style of decoration from
that of the Miraj, but is otherwise much the same size. Typically, no gourd is
used, but the spherical part is gouged out of a solid block of wood. The neck is
somewhat smaller in diameter. Jackwood is used throughout, bridges are usually
cut from one piece of rosewood. Often two rosettes are drilled out and
ornamented with inlaywork.
• Tamburi: small-scale instruments, used for accompanying instrumental soloists. It
is two to three feet long, with a flat bed-pan type wooden body with a slightly
curved tabli. It may have from four to six strings. Tamburi are tuned to the higher
octave and are the preferred instruments for accompanying solo-performances by
string-playing artists, as the lighter, more transparent sound does not drown out
the lower register of a sitar, sarod, or sarangi.

[edit] References
http://www.medieval.org/music/world/martin_est.html

Some reflections on the use of Electronic Substitute Tanpura and the

intricacies of proper tanpura tuning by Martin Spaink
With the following article I would like to share some observations and reflections on the use of the
Electronic Substitute Tanpura (EST) during concerts and recordings and more specifically, about the tuning
of the tanpura.

I would like to state explicitly that it is not my intention to scorn or condemn musicians who do use EST,
although I would never choose to do so myself. Nor am I a scholar or do I want to pose as an authority but I
have ample experience as a professional player of the tanpura. It is not my intention to write yet another
theoretical or scientific article, rather, I would share some first-hand practical observations.

I have played for many Indian musicians on concert-tours which were organized by the Royal Tropical
Institute of Amsterdam. All visiting artists were satisfied and inspired having let me take care of the tuning
of the tanpura(s). Also I have done a lot of work on the bridges of many tanpuras, doing the "jivari". As a
musician-in-learning I study Dagarvani Dhrupad (vocal) and sarangi.

I understand that the EST or "white boxes" were originally introduced to facillitate solitary practice but in
the past years I have seen them being used more and more on international concert stages and I have heard
them in many recordings. I have asked various musicians in a diplomatic way why they use EST. Judging
from their answers, practical reasons play a big part: tanpuras are fragile and cumbersome travel
companions. Also doubts or complaints were expressed regarding both the quality of tanpuras and their
players that are provided by concert organizers. These are realistic and valid observations, but I disagree
that using EST instead is a good way to deal with the problem. It is taking the easy way out, but it leads to a
loss of refinement in the performances. The artificial sound of EST is a poor imitation of the real thing. It
lacks the rich, vibrant and animated resonance of a properly tuned and played tanpura.

In my perception and opinion, it casts a dull, grey colour over the whole performance that clouds the finer
resonances of the other instruments and it does not enhance inspiration.

To make things worse, I have attended many concerts during which the EST created a disturbance as the
pitch will often fluctuate. I have noticed this in my own experiences when I was playing tanpura in a
concert and the musicians also used EST. After some time my tanpura would still be in tune with the solo-
instrument and the tabla but the EST had gone out of tune. Then confused looks were cast about at which I
pointed out the culprit. I admit I felt immensely relieved when they then put the thing off, as immediately
the "fog" lifted from the stage and the bright rays of the tanpura shone forth to enlighten us.

But there are other reasons why I personally do not consider it wise to use EST which go a bit further than
to point out poor sound quality and pitch fluctuations.

First of all, the daily business of tuning the tanpura is a valuable stimulation to further develop our aural
perception. Tuning a tanpura makes great demands on our hearing faculties and requires us to make a
conscious effort (svara-sadhana). When tuning the tanpuras, the artists attune themselves to the raga that is
going to be performed. I believe that for the audience these are also valuable moments of involving
anticipation. The audience is given time to settle down and can appreciate the atmosphere which is being
created by the tuning process. The late Dagar-brothers (if not all members, past or present, of the family)
would not previously decide what they were going to sing at a concert, sometimes to the distress of
organizers. This decision was made spontaneously during the tuning process, or rather, some raga
manifested itself while tuning. This conscious effort or svara sadhana is so important as in the tuning
process the artist seeks to create a particular resonance or colour of sound that will suit the chosen raga.
This is related to the concept of raga svaroop, which means essentially that a particular intonation of one or
more svaras can evoke the image or feeling (rasa) of a particular raga. All these essential and subtle
elements of svaroop are hampered by the use of EST. No fine-tuning of Ma or Pa is possible and the timbre
(jivari) of each "string" is fixed. Some controls are there but it remains a crude artificial thing, however
smart the electronics may be. I believe it was Zahiruddin Dagarsaheb who once said that tuning the tanpura
creates intelligence. Obviously, fiddling with the controls of an EST is not quite as edifying.

With a proper tanpura with sensitive jivari various secondary tones can be evoked to emanate from its
sustained resonance, even within the basic PssS tuning. In short, there is not only one "right" way of tuning
in PssS as it is possible to adjust the finer resonances in function of a particular raga. A tanpura with this
kind of subtle tuning can inspire both the musicians and the audience with its animated presence. Further
on I will try to describe some of the basic principles that lie behind the intricacies of tuning.

Tuning a tanpura is such a complicated process as every single string resonates with many harmonics
which with some practice can be distinguished individually as secondary tones. Thus we are not dealing
with simple fundamentals but with extended chords. The slightly curved bridge of the tanpura functions
like a sonic prism: just as a prism will refract white light in the various colours of the rainbow, a bridge of
proper shape with the thread in the proper position will refract the constituent harmonics of the
fundamental tones. In daily use, the word "jivari" has different meanings: the word translates as "soul" or
"live-giving" but also refers to the threads and the carefully filed sloping curve of the bridge which
"animate" the tone of the tanpura. The cotton threads that are passed between the bridge and the strings
allow us to adjust the "prismatic function" of the jivari process. When we move the thread, the slightest
change of position creates a shift in the harmonic content of the resonance.

Also, with a sensitive jivari the tanpura becomes very responsive: at the touch of one string all others will
vibrate as well in sympathetic resonance. This phenomenon will manifest only under optimum
circumstances when the sonic energy from one string has a number of common harmonics with the others,
so that the whole can resonate as one vibratory system. The sustained resonance of the tanpura, when in full
accord and played properly, can become fully continuous "like an organ". An image that has often come to
my mind in comparison to the dynamic sound of a tanpura is that of the concentric ripples on the surface of
the water caused by the impact of a small stone being dropped into a quiet lake from a bridge. The
concentric ripples keep spreading out from a precise point untill the energy runs out. If another stone of the
same weight would be dropped in the same place at the proper moment, the movement would begin anew,
giving the travelling waves a push in the back, creating a seemingly continuous motion.

It will be obvious that a properly filed and polished bridge is absolutely essential, as a badly shaped or
worn bridge will never give a satisfactory sound. With a worn or otherwise defective bridge, the sound will
be shrill and thin and the resonance will fail to build up. The descending movement along the harmonic
series is obstructed so that it will not reach the lower register. Instead, the sound will be hung up on some
high and dissonant harmonic.

As harmonics play an important part in both the sounding process and the tuning, I present the following
matrix of the harmonic series. This chart offers helpfull insights and gives the full range of harmonics
according to the physics of sound. In the present chart I have used the Indian sargam and SA for the
fundamental. It is important to realize that this chart of the harmonic series as such represents a fixed series
of natural intervals relative to the fundamental, regardless of pitch or what nomenclature is used. Whether
or not these harmonics will be audible depends on the acoustical qualities of our instruments, specifically
the jivari, and of course our ears and mind. The matrix is to be read from bottom to top, as the fundamental
tone is at its base. Small-type k stands for komal (flat), small-type t stands for tivra (augmented). As can be
seen from this matrix, the octaves are most present (nrs 1,2,4,8,16,32) then the fifths (3,6,12,24) and the
third place is shared equally between the natural major third (5,10,20) and the natural minor seventh
(7,14,28). Note also that the amount of harmonics increase in every successive octave as new harmonics
appear in between the octaves of the harmonics of the previous level, presenting ever smaller successive
intervals. Next to the octave of shuddh NI, nr. 30, two variant pitches appear, one slightly lower, the other
slightly higher. Also noteworthy are the variants of tivra MA and komal DHA, nrs 23 and 25 (tivra-tar MA
and ati-komal DHA). The next level 32 - 64 is tightly packed with harmonics in even smaller successive
 intervals, but I have not written them out as they are not very relevant for our purposes. Also one would
need to have an extremely low fundamental in order to be able to hear these harmonics (and hyper-sensitive
and trained ears!).

32S

16S 17kR 18R 19kG 20G 21M 22tM 23tM 24P 25kD 26kD 27D 28kN 29N 30N 31N
8S 9R 10G 11tM 12P 13kD 14kN 15N

4S 5G 6P 7kN

2S 3P

1S

0S

As a further example, I will give harmonics 8 - 16 of the fundamentals Pa and Ma.

8P 9D 10N 11tS 12R 13kG 14M 15tM 16P

8M 9P 10D 11N 12S 13kR 14kG 15G 16M

Note that in writing out the harmonic series of fundamentals other than SA some problems of nomenclature
arise.

In Indian music theory, a tivra SA is not recognized, but an augmented fourth over PA is just that (PA11).
PA23 would be a tivra-tar SA, just as MA17 would be a komal PA, MA33 ati-komal PA. But no matter,
these are theoretical problems of nomenclature only. The matrix of harmonics, being a timeless and
universal phenomenon, remains the same, regardless of the pitch of the fundamental. More of such
difficulties can be found when writing out the harmonic series of shuddh NI.

The first thing to realize is that in tuning the tanpura, we try to create a single, unified vibratory system.
This means that the relevant harmonics that are emitted by the octave sa strings (jora, the sound of which
should be completely identical) and the first string (PA or MA) have to be aligned with those of the low SA
string (karaj) so that the desired continuity of sound will manifest.

As an example, when tuning Sa-Pa, optimum consonance will be achieved when both share the lowest
common harmonic, pa, which is the 3rd harmonic of Sa and the 2nd harmonic of Pa (SA3:PA2). When
these harmonics sound in conjunct, their octaves may sound as well (SA6,12,24:PA4,8,16) so there are
many sonic links between the two tones. According to the jivari, shuddh RE can be a clear secondary tone,
coming from the conjunct of SA9:PA6, also shuddh NI may sound from SA15:PA10, even MA from
SA21:PA14. Note that all these conjuncts are in a perfect 3:2 relation. In a MssS tuning, SA4:MA3 is the
lowest common harmonic as a fifth on MA gives SA. Other conjuncts are the octaves, SA8,16:MA6,12;
then PA on SA12:MA9 and GA on SA20:MA15. In a shuddh NssS tuning (Marwa, Sohini) there is only
one conjunct on SA15:NI8 (and octave) which explains why it is quite difficult to tune NssS with accuracy
as there are not as many exact sonic links in the resonance. To complicate matters even more, a number of
disjunct harmonics can be present in the resonance which can create instability. For instance, SA9,NI5 are
two different pitches for RE; SA11,NI6 gives different pitches for tivra MA; as neither 9:5 or 11:6 equal
15:8. However, there is a useful harmonic link at the natural major third between the PA harmonics of SA
(SA3,6,12,24) and the octaves of NI (NI2,4,8,16)

The other important thing to realize is that when we pluck a string, we perceive a dynamic sounding
process in which two phenomena occur simultaneously. One is the cascading descent of the harmonics
from each separate string, the other is the building-up of the sustained resonance. This is then why the
relative timing of plucking the next string is so important, as the sounding process of the next string has a
reciprocal effect on the ultimate resonance of both strings, and so on. This explains why the unrelenting and
mindful attention of the tanpura player is required, as a slight irregularity in plucking (timing and relative
strength of plucking) can create a disturbance in the resonance of the tanpura. In the basic PssS tuning, we
do not only hear the tones PssS and their octaves as some secondary tones will manifest. These secondary
tones can ring out quite clearly and demand our full attention. As the sound of one single string is already
very rich in harmonics, playing all four strings in succession can turn in to chaos. So both our acuteness of
hearing and our mental concentration is required to create order - and life - within this plenitude of
harmonics. I remember clearly how in the early days I used to get lost in there! When tuning a tanpura, one
needs to know what is possible and what one is aiming for. I have already mentioned the secondary tones.
To be more precise, I should point out that not only secondary tones but also tertiary tones are generated.
These include difference tones and combination tones. Particularly the difference tones help to create a
fullness in the lower register as they expand the resonance below the fundamental, as if one would hear a
"sa" two or three octaves below the karaj. However, the secondary tones, the sustained harmonics that are
generated by the jivari of the single strings, are the most important tones to focus on when tuning. These
secondary tones can be aligned in such a way that they will create a recurrent pattern, for instance "rppg".
This pattern will result from carefully aligning the harmonics PA6,sa6,sa6,SA10. Without having to change
the micro-tuning, "rrrg" (PA6,sa9,sa9,SA10) can also manifest as a result of a slightly different way of
plucking. Here it is also our focal point of attention that is very important: we have to listen intently and
check continuously what is the resultant sound of our playing. As another possibility for a pattern of
secondary tones I mention "mmmg" (PA14,sa21,sa21,SA20). These ways of tuning are perfectly suited for
shuddh-scale ragas, having all natural notes. It is a bit more complicated to tune in function of a komal-
svara raga, having for instance komal RE and GA, as the shuddh RE and GA harmonics are usually clearly
audible in the sustained resonance. By changing the position of the threads and the micro-tuning, one can
try to create a resonance in which SA and PA harmonics dominate, trying to subdue the shuddh RE and GA
harmonics (it is impossible to completely eliminate them). Again, plucking is very important, as is the focal
point of attention of the player.

I am aware that the descriptions of the mentioned tunings and my explanation thereof are not in accord with
what has been written elsewhere in the annals of Indian musicology by some eminent scholars such as Shri
H. G. Ranade. In his book "Hindusthani Music, an outline of its physics and aesthetics" (1951, pages 88-
89) he states that we need not consider any harmonics higher than nr. 9. This is a biased statement that I can
not accept as my own first-hand experiences contradict it. At some occasions I was able to hear how Ustad
Sayeeduddin Dagar tuned the tanpura in such a way that the pattern "mmmg" was clearly audible. At a
glance at the harmonic chart one can readily see that a shuddh ma harmonic of the fundamental SA does
not appear in the series until nr. 21. The pancham string will emit a shuddh ma as its nrs. 7 and 14, which
can reinforce the more distant nr. 21 from the jora through sympathetic resonance.

This has already become a bit analytical and technical and as such the descriptions offered here may be far
removed from the experiences of Indian musicians. I am quite aware of this, but while it is one thing to
demonstrate these sonic phenomena with a tanpura at hand, I felt that for the sake of this article I had to
analyse and describe as precisely as possible what I hear or what I aim for when I tune the tanpura. Also, I
hope to have explained why I am so much devoted to my tanpura and her sonic refinements which I feel
can never be replaced by some smart electronic device. Furthermore, I would not hesitate to admit that I
have often felt that my tanpura had become a "living being" under my mindful fingers, as she instantly
procreates her sonic offspring and she is also very sensitive to her sonic environment. Once I accompanied
a Dhrupad concert during which the pakhavaj would not stay in tune. This had a great influence on my
tanpura, who was quite upset and would not stay in tune. On the positive side however, when both the
instrumental soloist and the percussionist take great care to tune into the resonance of a properly tuned
tanpura, true miracles can happen. In a recent concert-tour I accompanied two Carnatic musicians who
played Sarasvati Veena and Mridangam. For these concerts I played a very good Tanjore-style tanpura,
which blended beatifully with the other instruments. The tones of the Veena and all subtle inflections were
suspended by the resonance of the tanpura, so that they would hover in the air and could fully blossom. I
was filled with awe and admiration when I clearly heard the percussionist responding melodically with
great tonal accuracy to the phrases played on the Veena. I realized these delicacies could not have
manifested when accompanied by EST. Physics alone could not fully explain these phenomena.

Also in my own practice, when I sing with my tanpura, she clearly responds to how and what I sing. When
I sing with delicateness and precision, the resonance of my tanpura responds and opens up even more,
manifesting immediate interaction with my voice. Here I would like to remind my readers of the meaning
of the word "tanpura", which is derived from "tana" which means a musical phrase and "puura" meaning
fullness or completion. The resonance of the tanpura is both full and transparent, which allows me to sing
(when I can muster the required precision and adhere to the character of the raga) any svara so that it
completely blends in with the resonance of the tanpura. Numbers of times I have experimented with EST,
both singing and playing sarangi. These were always short sessions as it does not give me the same
inspiration or satisfaction. The times I have tried to tune my sarangi with EST-accompaniment I found the
EST lacking in pitch definition. With a properly tuned tanpura it is possible to create a steady and radiant
SA which is as straight and precise as a laser-line. The EST on the other hand - in my ears - produces a tone
that is too thick and blurry. Maybe I am over-delicate or too demanding, but why settle for less if one
knows what is possible?

Yes, it does take time and effort, every time when we sit down and tune the tanpura, and for the next
session we have to do it all over again. But when we make it a svara sadhana we learn from it, we focus and
concentrate and attune to the raga that we want to play or sing. Then we will be blessed with the animated
and inspiring presence of a properly tuned tanpura which will allow us to sing or play with great precision
of melodic intonation in which the svaras can manifest rasa and bhava. No EST can give the same
experience, and furthermore, it does not offer any teachings or stimulations to help us to advance in the
subtle art of Indian music... Aum Nada Brahma...

As a post-scriptum to this article I would like to share some practical considerations which might be useful.

When preparing for a concert, bring all instruments to the stage and leave them there to acclimatize
whenever possible. Ask the light-technician to set and adjust the stage-lights before the soundcheck and
then to leave it like that. Also, check for possible drafts which can be a nuisance. When - for whatever
reasons - EST is to be used, it is best to run it on fresh batteries. Otherwise, when run on current, be sure to
set it to the desired pitch well ahead of the beginning of the concert, and leave it on with the volume turned
low. This will help to stabilize the pitch.

As far as solitary practice is concerned, when I play the sarangi, I personally prefer to use a CD-recording
of a properly tuned and played tanpura, which I find is the next best thing to having a good instrument and
player sitting next to oneself.

I would like to dedicate this article to all the inspiring musicians that I have had the honour to accompany
in concert. Especially to Ustad Sayeeduddin Dagarsaheb, who is by far the most demanding and critical
person as regards the tuning of tanpuras that I have ever met. I have accompanied him in many concerts
and we have worked together on the bridges of many tanpuras, which was a great learning experience. Also
I would like to thank mr. Felix van Lamsweerde, former ethno-musicological curator of the Royal Tropical
Institute. He has been very influential in introducing classical Indian music in the Netherlands. In 1963 he
had my present tanpura made in Miraj, and as a mentor and friend he has been most supportive.

Martin Spaink, Toscana, 2003

Feel free to circulate this article or to quote from it, as I would like to stimulate some discussion on this
topic. Reactions can be sent to the following e-mail-address: martinspaink@yahoo.com
 http://kksongs.org/tanpura/tuning.html

Krsna Kirtana Songs est.

2001
www.kksongs.org

Home  Music Center  Instrumental Guides  Tanpura Tutorial

Tuning Schemes of the Tanpura

Tanpura tuning is pretty simple, as the general rule will be the same.

Every tanpura must have at least four strings. There is no such tanpura
under four strings. Some people may own a five, six, or even a seven
stringed tanpura, but the general procedure holds true on how to tune.

First: Decide what key you are going to tune your tanpura to. This is
important, because your tanpura has a limited range of what key it can
play. Over-tightening your tanpura will either result in the breaking of
the string, damage to the bridge, or excessive weight that can actually
puncture the tumba on a gourd tanpura. Since the bridge is the cause
of the buzz on the tanpura, improper tuning methods can destroy the
bridge or destroy the sound.

TUNING FOUR STRINGED TANPURAS

There are three classes of tanpuras.

Male Range: B below middle C to D# above middle C

Female Range: F above middle C to A# above middle C

Instrumental Range: B above middle C to C# one octave above

middle C.

If you are planning to sing in the key of A# and you have a male
tanpura, then you will have to find alternative solutions, which will be
presented later. Nonetheless, identify what key you will tune to and
see if it is acceptable with your tanpura.

Given that it is, look at the following chart.

The first string is tuned to Pa below Sa. The second and third strings
are tuned to Sa on the middle range. Thus, the second and third
strings should sound exactly the same. The fourth string will be tuned
to Sa below the mid-range octave.

Depending on some models of the tanpura, the order of the strings

shown above maybe reversed.
TUNING TANPURAS BEYOND FOUR STRINGS

The last three strings will follow the exact same format as the four-
stringed model of tuning shows. The first two strings on the five string
can be tuned to Pa with Ma in whichever order is acceptable. More
strings to the tanpura can allow combination, but it has to fit with the
raga.

The rule of thumb in tuning a tanpura will remain common, that the
last three strings be tuned to S, S, and 'S respectively (Sa in the mid-
octave, Sa in the mid-octave, and Sa in the lower octave). However,
even in the four stringed model, there will be exceptions

PA TUNING

As shown in the diagram, which most ragas will use.

MA TUNING

Some ragas like Malkauns, Lalita, and Ragesri lack a 5th note (Pa) or
emphasize the ma strongly. Therefore, the first string is tuned to
suddha ma.

NI TUNING: (MALE TANPURAS)

In male tanpuras, tuning the first string to suddha Ni is acceptable

when

1) It is evening

2) The raga lacks suddha ma AND Pa

3) If the vadi/samvadi pair is suddha Ga and suddha Ni

Since the pitch is low, it blends well with the tonic.

MISCELLANEOUS TUNING: (FEMALE TANPURAS)

For ragas that lack suddha ma and Pa, female tanpuras should tune to
the note closest to suddha ma or pa based on the raga being played. It
is always good to check if your tanpura can go as high as Ni. If it can,
use that. Otherwise, find the note and tune to that.

WHAT IF YOUR TANPURA CANNOT REACH THE DESIRED SA?

It is very possible that your tanpura cannot hit a certain pitch. The best
solution is use Sa-Pa to Sa-Ma conversions.

Find your current Sa and current Pa notes.

Let your current Pa be equal to your new Sa

Let your current Sa be equal to your new suddha ma.

It might sound awkward at first, but it definitely works out. The

frequency of your Sa and Pa are untouched, but just transposed on a
more user-friendly scale for your tanpura.

UPDATED: June 23, 2009

http://www.soundofindia.com/showarticle.asp?in_article_id=816436941

Article: Notes on Ragas and Tanpura Tuning

By Haresh Bakshi

The Ragas can be divided into four catagories:

[1] Those which omit madhyama.

Examples: Bhupali, Shankara, Desakar

Tanpura tuning: 1st string: 'P

2nd string: S
3rd string: S
4th string: 'S

[2] Those which include both pa and ma. Here we have two types:
(a) Those dominated by pa. The strings are tuned as in [1].
Examples: Bhairava, Yaman.

Tanpura tuning: 1st string: 'P

2nd string: S
3rd string: S
4th string: 'S

(b) Those dominated by ma. Here the first string is tuned in 'm , that is , shuddha ma in
mandra saptaka. The remaining three strings remain the same.
Examples: Bageshri, Lalit pancham.

Tanpura tuning: 1st string: 'm

2nd string: S
3rd string: S
4th string: 'S

[3] Those which omit panchama. The strings are tuned as in [2b].
Examples: Malkaus, Lalit.

Tanpura tuning: 1st string: 'm

2nd string: S
3rd string: S
4th string: 'S

[4] Many evening ragas like Marva, Puriya, Poorvi; also, Sohani. Here the first
string is tuned in 'N, that is , ni in mandra saptak. The remaining three strings remain
the same.

Tanpura tuning: 1st string: 'N

2nd string: S
3rd string: S
4th string: 'S