The instrument dilruba became a regular part of Sikh devotional music and the esraj became very popular in Bihar and Bengal about hundred or hundred and fifty years ago. As far as classical music is concerned, both these bowed instruments could never achieve much popularity as solo Instruments. As accompanying instruments as well these two had a very short span of life. Today, although they are not obsolete, they are definitely very rare. The instruments esraj and dilruba emerged in Hindustani music about two hundred years ago with common features of the sarangi and sitar.
These Instruments came about because of the particular demand of society in that era. First there was no bowed instrument other than the sarangi on the classical music scene in the nineteenth Century. Second, the sarangi was a difficult instrument to tune as well as to play. The frets on the esraj and dilruba, however, were easier to play than the sarangi.
Moreover the status of sarangi on the social scale was very low due to its association with low caste musicians and dancing girls. Thus, these instruments served the particular musical needs of the society of a particular period. Later on, when the violin and harmonium appeared on the music scenario, their popularity gradually waned. Thanks again for the info Tony.
This is helping me come to a decision. It's a Dilruba with a full length sitar neck. Still in bare wood at the moment. All very doable. If you're interested, let me know and I can steer my time that direction.
I'd like nothing better than to have an instrument with your quality workmanship all over it Tony. The only thing is, I need something with a scale length shorter than a sitar.
If I wasn't so averse to fretless instruments, I'd learn how to play a sarangi. I love the sound of them too, but feel the need to run for the hills when confronted with the thought of playing something fretless. Dilrubas seem like the perfect compromise for me in terms of sound and form.
Your offer is much appreciated though A related question to anyone out there, which of these instruments sounds more like a sarangi? Insert Cancel. Failed filename Unsupported photo file type. Please upload the file as a post attachment instead. Link to post Share on other sites. Create Account. Log In. Forgot your password? This system is in balance; but there are a number of things that will cause this balance to change. Changing the pitch of the instrument changes the downward pressure exerted by the strings.
Changing the gauge of the strings also changes the downward pressure exerted by them. But there can also be changes in the upward pressure from the skin. For instance, changes in humidity affect the ability of the skin to exert an upward pressure against the bridge. Age causes the skin to stretch, thus changing the skin's ability to exert an upward pressure.
Temperature also changes the skin's characteristics. The bottom line is simple, as you own your instrument, there are any number of factors which will effect the precise position of the bridge. Therefore, this will be reflected in the position of the frets. These effects are most noticeable in the high pitch frets e.
Now that we realise that repositioning the frets is just part of owning a dilruba or esraj , the obvious question is how do we do it. To begin with, your eyes will be of very little utility. You must depend upon your ears. If your ears tell you that a particular fret is off, then it probably is. One word of warning; before you go messing around with the frets, you need to make sure that your strings are perfectly in tune. If you have any doubt about your ability to hear the correct pitch, you can use an electronic tuner.
Remember that Sa, Ma, and Pa quite conveniently, are the same whether one is dealing with a tempered or untempered scale. Therefore you can quite confidently uses an electronic tuner for your main playing strings without having to worry about the particulars of Indian intonation. If you are a rank beginner you might try this, but I don't really recommend it. It is better to just do a little extra practice and get the correct "feel" as to placement of the fingers.
Remember, although the frets may look like the sitar's , they do not function in the same way. No, slide your fingers vertically like a sarangi. Again, just because the frets look like a sitar's , they do not work in the same way.
This is generally a matter of taste, but most people prefere a dark sticky bass rosin. See Rosin A. Generally yes, it does make things easier. You will be able to tell from the feel whether you need it or not. The most important thing to remember is that you should never get any oil on the area that you bow. If you do, then the oil will transfer to the bow, thus making your bowing unreliable.
As a practical matter, it is a good idea not to go above the Pancham in the upper octave. Although you can easily hear the pitch and control it up to the upper Sa , this places your fingers in positions which are uncomfortably close to where you bow the string.
You must also remember that if you use oil, you must occasionally clean the strings, I prefer alcohol; but remember not to get any alcohol on the finish of your instrument or it will spoil the finish.
First look at your bow. Is it properly "broken in". Almost all playing is perfomed on one string, while the others are used as sympathetic strings. It is used as accompaniment for religious music of the Sikh tradition Gurmat Sangeet.
The esraj is commonly used as an accompanying instrument for folk and religious music, including the Rabindra Sangeet tradition of West Bengal. The instrument can be considered a cross between the sarangi and the sitar since it is played with a bow but has frets.
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