Sitar
The Sitar is a Hindustani Classical Instrument. There are many theories behind the origin of sitar. The sitar was invented by Amir Khusru, firstly. Amir Khusru is an icon for the early development of Hindustani Sangeet. He lived during the reign of Allaudin Khilji around 1300 AD. The origin of the name, sitar is likely to be from Persian. The corresponding Persian name is sehtar. seh means three and tar means string meaning three strings. tri-tantri vina, a lute-like instrument mentioned by Sharangdev. It is also quite likely that the sitar is an adaption of the much older Indian instrument the rudra veena. Present sitar emerging in the eighteenth century and the addition of three extra strings to the existing three.
The sitar structurally consists of- a base (tumba) - a hemispherical, hollowed gourd that acts as resonating chamber
- a stem (dand) - semi-rounded wooden structure with the upper surface functioning as the finger board, joined to the base by a shoulder (gulu)
- a second gourd for balance and to heighten resonance.
- The tuning pegs are situated at the front end of the instrument. These are simple friction pegs. Those pegs are called as 'kuntis'. Sitar has two types of kuntis, larger kuntis are for main strings and smaller kuntis are used for sympathetic strings. Larger kuntis are of three styles simple, fluted, lotus.
There are various intelligent techniques for ornamentation of sitar playing. Different methods of 'technique placement', results in different ornaments like kana, mind, gamak, khatka, murki, kampan, andolan. The vina influenced the structure and additions - the metal frets, the bridge and the use of the mizrab to play the sitar. Gharsan and ghasit are similar techniques for playing sitar and entail sliding a finger down the string after plucking with the mizrab. Results in the lower notes flowing smoothly after the higher ones called as a glissando.
When playing sitar, the thumb of the plucking hand should stay on the side of the fretboard just above the main bowl, the plucking arm should carry all of the weight of the sitar by applying pressure to the main bowl with your elbow and other arm muscles, the fingering hand should move freely without having to carry any of the weight. Generally only the index and middle fingers are used for fingering.
Sitar Tuning Methods
Us. Vilayat Khan's (Imdadkhani-Etawah Gharana) system tuning
Ustad Vilayat Khan Sahab introduced many structural changes on Sitar which is universally recognized as 'Gandhar-Pancham Sitar'.
- Modification of arrangements and gauge of the strings: One of the two 'jod' strings was removed resulting less vibrant 'jod' sound and giving a greater scope for clearer execution of the bol-s by providing a greater distance between Main String and 'jod' String. He replaced the 'kharaj pancham' string by a steel string which is tuned to 'Ga'/ 'Ma' according to the Raga handled. Steel 'Pancham' String is followed by two 'Chikari' strings tuned to 'Sa' (middle), 'Sa' (high).
- Increase of the gauge of the sympathetic strings (taraf)
- Increase of thickness of tabli and height of the Bridge
- Introduction of 'Gol' (round) jawari, and introduction to German Silver frets instead of Brass frets
- Modification in 'Tar-Gahan', 'Dand' etc
- Removal of upper tumba
- A screw style device instead of the usual 'manka' to increase or decrease the pitch.
Pt. Ravi Shankar's (Maihar gharana) system tuning
The first string is called the baj ka tar, the second and third are considered together as joda means pair, tuned to shadja, next to these lie the laraj tuned to Pancham or to Madhyam and the kharaj tuned to Madhyam or to Pancham the two chikari strings are last, known as badi (big) and chhoti (small), and also known as the papiha strings, tuned to Shadja and Tar Shadja. This is Pt. Ravi Shankar's (Maihar gharana) system tuning.