126:, which held a significant place in the Mughal royal courts. The sarod emerged in India during the early 19th century as an evolved form of the Afghani rubāb, commonly played in the regions to the east of Delhi, inhabited by Afghan communities. In the latter half of the 19th century, the progeny of the rubab musician and Afghan merchant Ghulam Bandagi Khan endowed the instrument with metal strings and a metallic plate, elements that are characteristic of the contemporary sarod. These enhancements facilitated longer-lasting notes and the ability to execute the intricate embellishments characteristic of dhrupad and
196:
228:
pegbox, two rounded chikari pegs and 11 (Amjad) to 15 (Buddhadev) sympathetic strings. The descendants of
Niyamatullah Khan (namely Irfan Khan and Ghulfam Khan) also play similar instruments. Some of the followers of Radhika Mohan Maitra still carry the second resonator on their sarods. Amjad Ali Khan and his followers have rejected the resonator altogether. These instruments are typically tuned to B, which is the traditional setting.
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playing. Amjad Ali Khan and his disciples play this model, as do the followers of
Radhika Mohan Maitra. Both Amjad Ali Khan and Buddhadev Dasgupta have introduced minor changes to their respective instruments which have become the design templates for their followers. Both musicians use sarods made of teak wood, and a soundboard made of
344:
do. Maitra, however, made much more extensive use of the third fingernail for slides and hammers. Amjad Ali Khan, while a member of approximately the same stylistic school as
Radhika Mohan, prefers to use just the index and middle fingers of his left hand. Amjad Ali is, however, pictured circa 1960 playing with all three fingers.
170:, who changed the rubab into the sarod we know today. A parallel theory credits descendants of Madar Khan, Niyamatullah Khan in particular, with the same innovation around 1820. The sarod in its present form dates back to approximately 1820, when it started gaining recognition as a serious instrument in Rewa,
227:
skin stretched across the face of the resonator. Buddhadev
Dasgupta prefers a polished stainless steel fingerboard for the ease of maintenance while Amjad Ali Khan uses the conventional chrome or nickel-plated cast steel fingerboard. Visually, the two variants are similar, with six pegs in the main
343:
Fingering techniques and how they are taught depends largely on the personal preferences of musicians rather than on the basis of school affiliation. Radhika Mohan Maitra, for example, used the index, middle and ring finger of his left hand to stop the string, just like followers of
Allauddin Khan
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strings and nine to eleven sympathetic strings. The design of this early model is generally credited to
Niyamatullah Khan of the Lucknow Gharana as well as Ghulam Ali Khan of the Gwalior-Bangash Gharana. Among the contemporary sarod players, this basic design is kept intact by two streams of sarod
182:
and his brother Ayet Ali Khan. They increased the number of chikari (drone) strings and increased the number of tarafdar (sympathetic) strings. However, as is the case with most young, evolving instruments, much work remains to be done in the area of sarod
151:. Another instrument, the sur-rabab, is known to exist, which has the characteristics of both the dhrupad rabab/seniya rabab and the sarod. The sur-rabab has the structure of the dhrupad rabab but has a metal fretboard and uses metal strings.
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There are two approaches to stopping the strings of the sarod. One involves using the tip of one's fingernails to stop the strings, and the other uses a combination of the nail and the fingertip to stop the strings against the fingerboard.
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as the 1934 Maihar
Prototype, is larger and longer than the conventional instrument, though the fingerboard is identical to the traditional sarod. This instrument has 25 strings in all. These include four main strings, four
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strings providing a backdrop for the ambiance of the raga. This variant is, however, not conducive to the performance of clean right-hand picking on individual strings. The instrument is typically tuned to C.
158:. Amjad Ali Khan's ancestor Mohammad Hashmi Khan Bangash, a musician and horse trader, came to India with the Afghan rubab in the mid-18th century, and became a court musician to the Maharajah of
754:
58:, it is among the most popular and prominent instruments. It is known for a deep, weighty, introspective sound, in contrast with the sweet, overtone-rich texture of the sitar, with
308:. Most contemporary sarod players use German or American-made strings, such as Roslau (Germany), Pyramid (Germany) and Precision (USA). The strings are plucked with a triangular
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in order to achieve reliable customization, and precise replication of successful instruments. This reflects the general state of Indian instrument-making in the present day.
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Among the many conflicting and contested histories of the sarod, there is one that attributes its invention to the ancestors of the present-day sarod maestro,
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The conventional sarod is a 17 to 25-stringed lute-like instrument—four to five main strings used for playing the melody, one or two drone strings, two
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rubab" its tonal bandwidth is actually considerably greater than that of the rubab, especially in the middle and high registers.
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of the strings make the sarod a very demanding instrument to play, as the strings must be pressed hard against the fingerboard.
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Another type is that designed by
Allauddin Khan and his brother Ayet Ali Khan. This instrument, referred to by
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or other such materials. Early sarod players used plain wire plectrums, which yielded a soft, ringing tone.
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The origins of sarod music can be traced back to the rhythmic and vibrant melodies of the
Afghani
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that the sarod is a combination of the ancient chitravina, the medieval rubab and modern
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and is much older than the Indian musical instrument. It can be traced back to
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A traditional hand crafted coconut shell sarod plectrum, also known as a Javva
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may have given its name to the sarod. The
Persian word šāh-rūd is made up of
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instrument, it can produce the continuous slides between notes known as
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641:"Classical Indian Musician Amjad Ali Khan to Perform March 1 at FAC"
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Houtsma, Martijn Theodoor (1913–1936). "Ud". In E.J. Brill (ed.).
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meaning "song", "melody", "hymn" and further to the Persian verb
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178:. In the 20th century, the sarod was improved significantly by
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rud is of Persian origin and the word, like tar, means a string
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The word sarod was introduced from Persian during the late
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The Concise Garland Encyclopedia of World Music, Volume 2
617:"sarod · Grinnell College Musical Instrument Collection"
34:
A 19th century sarod, at the Metropolitan Museum of Art.
361:(1873–1934), Court Musician of Darbhanga and Rajshahi
215:) of playing. There are three distinguishable types:
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The design of the instrument depends on the school (
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753:Music, Garland Encyclopedia of World (2013-02-01).
782:"Sitar and Sarod in the 18th and 19th Centuries"
62:that give it a resonant, reverberant quality. A
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687:] (in German). Leipzig/Tehran. p. 420.
133:Although the sarod has been referred to as a "
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8:
320:shell, ebony, cocobolo wood, horn, cowbone,
1459:String instruments with sympathetic strings
932:
918:
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679:Heinrich FJ Junker; Bozorg Alavi (1970).
76:), which are important in Indian music.
893:Inventing the Sarod: A Cultural History
700:Inventing the Sarod: A Cultural History
608:
276:strings. The main strings are tuned to
643:. Office of News & Media Relations
702:. London: Seagull Books. p. 27.
7:
780:Manuel, Peter; Miner, Allyn (1999).
729:. Vol. 2. BRILL. p. 987.
831:. David and Chandrakantha Courtney
25:
300:Sarod strings are either made of
1309:Non-Membranous Percussion (Ghan)
1173:Membranous Percussion (Avanaddh)
1444:Hindustani musical instruments
786:Yearbook for Traditional Music
656:"ITC Sangeet Research Academy"
1:
681:Persisch-deutsches Wörterbuch
522:Joydeep Mukherjee (musician)
1396:Historical/possibly extinct
854:"Tools of the Trade: Sarod"
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941:Indian musical instruments
582:Hindustani classical music
332:The lack of frets and the
685:Persian-German dictionary
592:Plucked string instrument
27:Indian musical instrument
122:, as well as the Indian
1372:Bharatiya Sangeet Vadya
698:McNeil, Adrian (2004).
144:Bharatiya Sangeet Vadya
1377:Indian classical music
1132:Bowed Stringed (Vitat)
1029:Plucked Stringed (Tat)
726:Encyclopaedia of Islam
492:Biswajit Roy Chowdhury
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208:
200:
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455:Shahadat Hossain Khan
437:Sharan Rani Backliwal
368:
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860:on November 18, 2006
570:SuraRanjan Mukherjee
389:Radhika Mohan Maitra
891:McNeil, A. (2005).
621:omeka1.grinnell.edu
413:Buddhadev Das Gupta
316:) made of polished
260:respectively), two
99:Alternatively, the
60:sympathetic strings
52:Indian subcontinent
44:stringed instrument
1106:Electronic tanpura
852:Broughton, Simon.
597:String instruments
486:Narendra Nath Dhar
401:Jotin Bhattacharya
379:(1862(1882?)–1972)
373:
359:Mohammad Amir Khan
264:strings (tuned to
240:strings (tuned to
209:
201:
199:Sarod Micro tuners
36:
1449:Necked bowl lutes
1426:
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1290:Jori (instrument)
827:Courtney, David.
766:978-1-136-09602-0
709:978-81-7046-213-2
539:Arnab Chakrabarty
504:Tejendra Majumdar
348:Notable sarodiyas
328:Playing technique
288:("so") and lower
130:styles of music.
54:. Along with the
16:(Redirected from
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1403:Ālāpiṇī vīṇā
1180:Anandalahari
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862:. Retrieved
858:the original
833:. Retrieved
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1056:Rudra veena
895:. Seagull.
457:(1958–2020)
445:(1942–1985)
439:(1929–2008)
433:(1877–1955)
427:(1943–2010)
421:(1942–1990)
415:(1933–2018)
409:(1931–1989)
403:(1926–2016)
397:(1922–2009)
391:(1917-1981)
385:(1888–1972)
1433:Categories
1331:Jal tarang
1096:Swarmandal
1076:Seni Rebab
1005:Shruti box
980:Nadaswaram
864:2006-12-02
835:2006-12-02
736:9004082654
665:2019-10-13
647:2019-10-13
626:2019-10-13
603:References
443:Vasant Rai
124:seni rubāb
115:(string).
46:, used in
1260:Mridangam
960:Harmonium
806:0740-1558
561:(b. 1995)
547:(b. 1983)
541:(b. 1980)
530:(b. 1983)
524:(b. 1982)
518:(b. 1979)
512:(b. 1977)
506:(b. 1961)
494:(b. 1956)
488:(b. 1954)
482:(b. 1952)
476:(b. 1945)
470:(b. 1939)
149:sursingar
74:glissandi
1341:Khanjani
1326:Ghungroo
1270:Pakhawaj
1091:Swarabat
1086:Surbahar
576:See also
500:(b.1957)
353:Deceased
310:plectrum
280:("fa"),
185:luthiery
162:(now in
64:fretless
1356:Morsing
1351:Manjira
1346:Khartal
1250:Mardala
1230:Kanjira
1154:Sarinda
1149:Sarangi
1139:Dilruba
1101:Tanpura
1061:Santoor
1000:Shehnai
995:Shankha
955:Bansuri
829:"Sarod"
792:: 139.
334:tension
318:coconut
262:chikari
220:chikari
213:gharana
176:Lucknow
168:Gwalior
101:shahrud
94:sorūdan
80:Origins
50:on the
1387:Jivari
1336:Kartal
1321:Ghatam
1316:Chimta
1300:Udukai
1280:Sambal
1265:Nagada
1255:Mizhav
1235:Khamak
1225:Edakka
1220:Dholki
1215:Dholak
1195:Damaru
1190:Chenda
1185:Chande
1164:Violin
1041:Ektara
1036:Dotara
1015:Tharai
1010:Sringa
975:Kuzhal
965:Karnay
899:
814:767986
812:
804:
763:
733:
706:
462:Living
322:Delrin
270:octave
191:Design
18:Sarode
1365:Other
1295:Tavil
1285:Tabla
1275:Parai
1245:Madal
1205:Duggi
1200:Dhaak
1144:Esraj
1113:Veena
1081:Sitar
1071:Sarod
990:Pungi
985:Nafir
970:Kombu
810:JSTOR
683:[
302:steel
274:tarab
128:khyal
120:rubāb
90:sorūd
69:meend
56:sitar
42:is a
40:sarod
1240:Khol
1210:Dhol
1159:Taus
1123:Yazh
1051:Pena
1020:Venu
897:ISBN
802:ISSN
761:ISBN
731:ISBN
704:ISBN
314:java
256:and
225:goat
160:Rewa
135:bass
109:shah
38:The
794:doi
304:or
294:jod
254:G/g
250:R/r
246:Dha
244:or
238:jod
113:rūd
105:šāh
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844:^
808:.
800:.
790:31
788:.
784:.
739:.
658:.
653:-
619:.
290:Sa
286:Pa
282:Sa
278:Ma
266:Sa
258:Sa
252:,
248:,
242:Ni
933:e
926:t
919:v
905:.
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