132:(glissando) that is 2 octaves long. Sursringar was well-suited for vilambit (slow) alap, and the techniques of both veena and rabab playing could be incorporated in it. The instrument Rabab had some limitations. It's gut strings and skin parchment upon the resonator makes the slow passages of alap, impossible unlike the Veena. Moreover, due to the dampness in the monsoons, the sound of Rabab used to deteriorate so much that the notes played on it could not even be discerned. Sursringar became a distinct improvement over the rabab with regard to the tonal quality and for the alapchari of dhrupad anga. The melodious effect of Sursringar was so overpowering that it could even outshine the veena in its vilambit alap. Thereafter, it became a tradition amongst the Rababiya gharana to play the Sursringar during the rainy season.
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Allauddin Khan learned
Dhrupad on the Sursringar from the famous Veenkar(Veena player), Ustad Wazir Khan of the Rampur Senia Gharana and Pandit Radhika Mohan Maitra learned the Sursringar from Ustad Mohd. Dabir Khan, also from the Rampur Senia Gharana. Hence the baj (playing style) of the Sursringar follows the slow, meditative style of Dhrupad. Later attempts have been made to reduce the size of the Sursringar so that the player can play the faster idioms of the Sarod while keeping the tonality and the depth of the Sursringar. To this end, Pandit Radhika Mohan Maitra created the Mohan Beena (different from Vishwa Mohan Bhatt's Mohanveena).
105:). However other variants of Sursringar are known to exist which have nine or ten strings and also one which has tarabdar or sympathetic strings in addition to the above strings. The strings are usually made of brass (instead of catgut used in earlier instruments). These modifications resulted in the increase of resonance in the instrument and thereby in its popularity.
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it was customary to learn the
Sursringar along with the Sarod till the early years of the twentieth century. Gradually, when the sarod and sitar were modified and became well equipped with a greater range of expressiveness, the popularity of the Sursringar and Surbahar ebbed and these became obsolete in the latter half of the twentieth century.
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In earlier days musicians from the Senia
Gharana declined to teach the Veena to students who were not from their family. Instead, the students were instructed to play the dhrupad and the dhamar idioms of the Veena on the Sursringar ( for those who had a Sarod or Rabab background). For example, Ustad
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The instrument was well received in the world of music and became popular in a very short time in northern India. Sarod players used to play alap on the
Sursringar before playing gat on Sarod in the same manner as Sitar players used to play on the Surbahar before playing gat on the Sitar. Therefore,
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In
Dhrupad style, it was used as a solo instrument in the 19th and 20th centuries. It is regarded as a further development of the Dhrupad-Rabab that has more or less disappeared today. Its neck has a metal fingerboard and the steel and bronze strings are played with a metal pick, while the bridge is
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Only the
Sursringar, Surbarhar, and Veena are capable of rendering the low, sustained pitches necessary for Dhrupad. Unlike the other two, the Sursringar is also capable of delivering sweet notes that are high in pitch. Of the three, the Sursringar has the most played strings making it possible to
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The main body is made of wood and not leather (the material used in earlier instruments). The sound producing mechanism of the instrument is formed by a gourd. The gourd is attached to a hollow wooden handle. The handle is sometimes covered with a metal plate to facilitate the
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render beautiful intervals, chords, and drones. In addition, due to the fretless stainless steel fingerboard, the
Sursringar has the capacity to easily emit
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took efforts to revive
Surshringar and performed. He is a notable performer and only accomplished performer of Sursingar in current time. He was awarded
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made of a flat horn. It has two resonant boxes; the main box is made from a cut gourd, on which a wooden cover is attached.
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for the year 2019 for his notable talent in the field of
HindustanI Instrumental Music (Sursringar)
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Pyar Khan, Basat Khan, Jaffar Khan, Mohammad Ali Khan (Son of Basat Khan), Bahadur Sen Khan,
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and produces a deeper sound. It precedes the sarod chronologically.
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having many similarities with the sarod. It is larger than the
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The instrument is supported by the left shoulder, as the
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88:19th century Sursingar made by Ali Akbar Khan.
217:Ram Avtar Vir. Musical Instruments of India.
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160:had a few Sursringar recordings as did
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194:"SURSRINGAR BY MONOJ KUMAR SARDAR"
170:Ustad Bismillah Khan Yuva Puraskar
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80:Construction and Playing style
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166:Joydeep Mukherjee (musician)
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274:Indian musical instruments
198:www.indian-instruments.com
60:(Sringara: Pleasure in
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174:Sangeet Natak Akademi
112:and is played with a
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162:Radhika Mohan Maitra
154:Radhika Mohan Maitra
66:Indian subcontinent
144:Notable performers
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27:Musical instrument
279:Necked bowl lutes
16:(Redirected from
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34:Sursingar player
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258:Audio clips
203:14 November
58:surshringar
18:Surshringar
268:Categories
180:References
54:sursringar
95:glissando
49:sursiṅgār
40:sursingar
114:plectrum
62:Sanskrit
122:Dhrupad
103:chikari
221:
118:mezrab
99:drones
130:meend
110:veena
70:sarod
219:ISBN
205:2017
44:IAST
38:The
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