Musical Instruments of India
Sitar
The Sitar is for many the icon of Indian music. The structure and tonal quality of this instrument is the result of several years of hard work and dedication on the part of the musicians and luthiers, who over time have made it almost another instrument compared to its archetype. The artisans, including Hiren Roy, Radha Krishna Sharma, Kanhailal and Hemen of Calcutta, Rikhi Ram in New Delhi and the workshops of Nithai Chandra Nath and Radhey Shyam Sharma in Benares, still produce the best Sitārs on the market.
The term Sitar is of Persian origin and means 'three strings'. The nomenclature helps us to clarify once again the common origins of the music, finding a phonetic relationship between the chitravīṇā of Bharata Muni's time with the Greek zither, the North African githara, the Algerian kouitra, the Moroccan kitra, the Persian sehtar and the modern guitar, in which the common root “tar” indicates the presence of one or more strings.
As regards the origin of the Sitar, there are various hypotheses, heterogeneity of opinion due to the typical clash between tradition, academicism and politics. Some give credence to the legend according to which it was Amīr Khusro of the court of Allaudin Khilji who first invented this instrument, while others believe that it is the Tritantrī Vīṇā or Kachapī Vīṇā that should be considered the progenitor of the Sitar*. The fact is that in order to orient ourselves among the various stylistic innovations introduced in that period, we should understand the Muslim influence of Persian, Turkish and Central Asian cultures, present throughout northern India from the beginning of the eighth century until the fifteenth century **, which have given music, literature and art characterizing stimuli which, among other things, underline today's aesthetic peaks. The lineage of Vilayat Khān, the Imdādḵẖānī Gharānā, must be recognized for the contributions made to the instrument both for structural modifications and for the introduction of styles and performance standards of instrumental music. The first modification, introduced by Masīd Khān, was the addition of two strings to the three pre-existing ones and the introduction of the compositional standard for slow compositions called Masīdkhānī or also Masitkhānī. The other fundamental style in fast compositions called Rezākhānī is also associated with this lineage. Roughly in 1925, a second gourd was added on the neck which Vilayat Khān probably eliminated, in 1930 the two rhythmic strings called cikārī were added and in 1945 the introduction of two other low strings (which, again, were probably eliminated by Vilayat Khān ) and sympathetic strings will allow you to overcome some limitations when playing the Ālāpa and increase the sound range of the instrument.
The golden age of the Sitar dates back to the 1950s and 1980s thanks to great masters such as:
Ravi Shankar
Vilayat Khan
Imrat Khan
Nikhil Benarjee
Mani Lal Nag
Amar Nath Mishra
Sahid Parvez
Suljhat Khan
Nissad Khan
Buddhadhitya Mukherjee
Rais Khan
Abdul Halim Jaffar Khan
Kartik Kumar
Balaram Pathak
Deobrata Chaudhuri
Jaya Bisbas
Manju Mehta
Kalyani Roy
Krishna Chakraborty
and many others who have contributed to giving the Sitār a special place in the world of music internationally.
To make the Sitar, from the handle (dandī) to the soundboard (tablī), from the joint (gullu) to the keys (kutī), two types of wood are mainly used: rosewood and teak. The total length of the Sitār is approximately one hundred and twenty centimeters, the handle is approximately ninety-two centimeters long and approximately nine or ten centimeters wide. The sound box is instead made from a dried and longitudinally sectioned pumpkin, on top of which the soundboard is mounted. Two bridges are fixed on the soundboard, both made of deer horn or bone, one for the main strings and the other smaller one for the resonance strings. There are six or seven principal chords and eleven to thirteen sympathetic chords. These strings which extend across the entire neck are attached to a hooked tailpiece called a langot, which is attached to the lower end of the body. The main strings pass through another bridge called Meru, to be inserted into the main keys called kunti; the sympathetic strings pass through small holes covered in horn or bone, which are located under the handle of the Sitār, to be inserted into the respective keys inside the handle, called taraf tar kunti. The two rhythmic strings called cikārī rest on two small bone or horn pegs called cikārīkil.
The way in which the surface (javarī) of the main bridge of the Sitar (ghurach or ghoraj) and of the bridge used for the resonance strings (chota ghurach or chota ghoraj) is modeled determines the timbral characteristics of the instrument. Consequently, the art of knowing how to give this surface an exact shape, so that the point and the way in which the strings rest on the bridge reflect the timbric will of the sitarist, determines an enormous difference between a master of lutherie and a shopkeeper. The term javarī, which indicates the surface of the bridge, derives from the Sanskrit term jīva, which suggests that it is the place where the individual soul of each instrument resides.
The number of keys varies between the different schools, featuring up to twenty keys fixed with wire on the neck, which can be moved to calibrate each single note on the position of the ṥrutī*** of the reference Rāga. To precisely adjust the pitch, three or four perforated ovoids called manka are used, sometimes decorated in the shape of a swan, inside which the string is passed. By moving them a few millimeters up or down, with a function similar to the vis d'accord fin of the violin, musicians are able to refine the tuning and make the resonances of the harmonics produced by the consonances of the strings shine.
Generally two models are available: one is the "Ravi Shankar" model, highly decorated with wooden inlays, with five main strings, of which two low strings that add a low octave to the instrument, two strings for the cikārī, a neck a little wider and slightly heavier and an extra gourd, mounted at the top of the neck, which acts as a monitor for the performer. The other is the "Vilayat Khān" model, slightly smaller in size but with a thicker soundboard, it remains very sober and minimal, without decorations, it is also called mundasitār. A third style is the "Nikhil Banerjee" one: with a wider neck than the "Ravi Shankar" model and a thick soundboard like the Vilayat Khān model, it features a small bridge fixed just under the upper bridge (meru), avoiding a problem of tuning fork that occurs for the low strings.
To pluck the strings of the Sitar a plectrum called mizrab is used which is worn on the index finger of the right hand and during the performance the sitarist sits on the floor in a yogic position called ardhagomukhāsana.
*A lute mentioned by Śārṅgadeva (13th century) in the musical treatise entitled Saṅgītaratnākara.
**But it should not be denied that this cultural influence, or rather this cultural exchange between India and the Middle East continues naturally, without anyone worrying about it. Beyond the dangerous political chatter, cultural objects such as music, cinema, cuisine, fashion, craftsmanship, etc., continue to float lightly between borders.
***Microtones in Indian music characterize different melodies played on the same modal scale, in fact we can say that on the Sitar both the strings and the keys are tuned.
My online music lessons are the perfect way to learn to sing, or improve the vocal techniques already acquired, or to start playing your favorite instrument or progress in your musical path through an alternative teaching method to Western teaching.
The goal of my Indian classical music courses is to teach you the basics of this wonderful art form. You will learn about the various Ragas, or modal scales, the Talas or rhythmic cycles, and the vocal and instrumental techniques used for improvisation in Indian classical music.
What makes my approach to teaching indian classical music so distinctive?
My teaching system is obviously unique and different from others and I think that learning music following the traditional Indian approach is the most effective method regardless of genre: pop, jazz, world fusion, electronic, whatever musical style you if you are interested, I guarantee that thanks to the Indian perspective, you will have an edge over all the other musicians.
What will you learn?
During my lessons I use a variety of techniques and exercises to learn to improvise and compose. What you will learn in my Indian classical music courses will be based on the concepts of modal scale and rhythmic cycle, i.e. Raga and Tala. You will also learn vocal and instrumental techniques which, although based on Indian musical theory, also find application in the Western musical system.
Will the course suit you?
My courses are aimed to all musicians of all levels, beginners, intermediate and advanced, offering different study materials and techniques from the usual Western standards. All those who want to learn to play Indian classical music are welcome and no previous knowledge or experience is necessary to get started.
I can not wait to get to know you!
Contact me now! The first lesson is FREE!
The main instruments of Indian Classical Music
The Sitar is the icon of Indian Classical music. The structure and tonal quality of this instrument is the result of several years of hard work and dedication of both the musicians and the master luthiers.
Goṭu Vādyama is a modified and developed form of Ektantri Veena, appeared on the scene of the Carnatic music system about hundred fifty years ago, it can be considered the Vichitra Veena of South India.
The name Rudra Vina, often written Rudra Veena, first appears in Nārada's Saṃgīta Makaranda between the fourteenth and fifteenth centuries and is supposed to be a derivation of the Kinnarī Vīṇā.
The Taus, the Dilruba and the Esraj are North Indian bowed instruments, all three with hybrid characteristics of the Sitar, such as long necks, fingerboard and metal strings, and of the Sāraṅgī such as the crafted soundboard Leather.
The Saraswati Veena, is very different from the Vīṇā of northern India. In fact, the arrangement of the main strings and cikari, the posture and the sound production techniques remain the same.
The Vichitra Vina, often written Vichitra Veena, saw its splendor towards the beginning of the twentieth century but many indications lead us to think that it is a developed and modified version of a very ancient instrument.
The Surabahar, often written Surbahar, was created, according to tradition, by Gholām Mohammad Khān, disciple of Piyār Khān and Omrāo Khān. Much larger than the Sitār, it is used, both in the Dhrupad and in the Khayal.
The Tampura is a fundamental instrument of Indian classical music, present in both the northern and southern systems. The function of this chordophone is to provide a sound in the background, that acts as a drone for improvisation.
In Arabic the term rebab indicates a bowed instrument; in fact the two half-moon inlets that characterize the shape of the Rabab's sound box suggest that it was only later converted into a direct pluck instrument.
The Svaramandala is a chordophone used by singers for accompaniment. Kallinatha in his commentary on Śārṅgadeva's Saṅgīta Ratnākara coincides the matakokilavīṇā of Bharata Muni's time with the Svaramaṇḍala,
The Sanṭoor is a dulcimer that has only recently entered Indian classical music scene. It is considered one of the most important developments of the twentieth century in Indian Classical music.
The transverse flute used in Indian classical music, is capable of reproducing all the delicate movements, ornamentations and nuances of the human voice. This instrument finds references in many sacred texts.
Among the main contributions of Indian instrumental technology, both in terms of production quantity and timbre quality, bifacial convex diaphragms occupy a place of primary importance in Indian Classical Music.
In the folk and tribal music of different regions of India, various types of stringed instruments are found with a very varied tradition. In the Rajasthani tradition there are more than ten types of Sāraṅgī.
This name derives from two sanskrit terms "pakshe vadya", or from the Persian "pakh awaz" which means soft sounding. The pakahwaj became the main percussion in the north, while the mridangam assumed centrality in the south.
The term Sarod, of Persian origin, means "song" or "melody". All hypotheses regarding the origin of the Sarod, are based on many assumptions and inferences. The general opinion is that it is a developed version of the Rabab,
One of the oldest and most widespread percussion instruments are the timpani, with a conical-shaped body, the skin of which is often struck with beaters modeled in an arched shape or simply straight, with a knobbed head.
The terms Shahana, Shahanay or Shennay identify the zurna, a wooden aerophone typical of Persian musical culture. In Iran we can still find various styles of this instrument which vary both in size and in the quality of wood used.
Tabla are the percussion instruments that best represent Indian musical culture. This instrument, used mainly in the Hindustani style, accompanies singing, instrumental music and dance.
The khol is the most used percussion in the north-eastern region of India, often linked to the Vaishnava cult of Bengal and Assam, it is also often called mridang since the body is made of terracotta (mrit means clay).
Probably in the past the pakhavaj and the mridangam presented much fewer differences and are in fact to be associated with a single archetype, but they developed over the centuries within two different styles,
Frame drums are very popular in India and the simplicity of manufacturing these instruments has facilitated their diffusion. They are in fact a thin strip of iron or wood bent into a circular shape with the two ends joined on which a membrane is applied.
The sound production techniques and the structure are identical to the shennay, the differences are mostly related to the dimensions and some small details. The double reed is fixed on a metal support which fits onto the wooden body.
The violin, which in India is also called Behalā, as we know, is one of the first Western instruments to have been introduced, more than a century and a half ago, into Indian music by Baluswamy Dikshitar (1786-1858), a great music scholar caranatica.
The Suraśṛṁgāra, often written Sursingar in many respects similar to the Surabahar, is a reinterpretation of the Rabab created in Benares under the supervision of Zafar Khān.
The moorchang, is a typical example of a universal instrument. In Italy it is a popular instrument called the wind chime or marranzano and although it takes on different forms, it is used all over the world.
The tavil belongs to the folk music tradition of South India, and is often played with a wind ensemble called periya melam. This percussion has a barrel shape with a single-layered stem, obtained from a single cylindrical block of wood.
Frame drums are very popular in India and the simplicity of manufacturing these instruments has facilitated their diffusion. They are in fact a thin strip of iron or wood bent into a circular shape.
The term bhanda vadya is used to indicate all terracotta percussion instruments with a spherical body, practically real vases of various shapes and sizes.
The term "Mohan veena" can denote one of two distinct plucked string instruments utilized in Indian classical music, particularly in Hindustani classical music, which is traditionally associated with the northern regions of the Indian subcontinent.
%2018th-19th%20centuries%20b.jpg)
