Instrumental Music Classes in Bangalore | Singing Classes in Bangalore – Sangeetsadhana sangeetsadhana.org

Fingering Techniques of improving or modifying the quality of sound production in order to increase the aesthetic effects are emphasised. Some of these embellishments are kana or grace notes, kampan or tremor, krintan or pizzicato, zamzama, meend or portamento or glissandi, Ladi( quick tremolo strokes) are taught with fine detailing in order to appreciate the subtleties involved in playing Sitar. Similar ornaments also exist in the case of Sarod but involve slightly different techniques, since the latter does not have frets.

Mashid khan a delhi sitar player composed several gat-s in various raga-s in which the raga melody was to be played in vilambit teental using fixed mirzab patterns involving both da and ra strokes as well as the combined diri (da +ra ) stokes in the same span of time. These gats were accomplished by toda-s which were extensions of the former, being basically melody lines which expanded on these gat-s and were interspersed with them. The first line of this gats begins on the 12th beat of the previous avartan, the first line consists of 2 similar halves and can be regarded as an eight beat pattern, diri da dir da ra da da ra played twice. There were many improvisations followed post Masit Khan like introducing bin techniques which exhibit the use of meend and zamzama techniques followed by blending elements of Dhrupad with khayal, by introducing alap in sitar and Sarod repertoire called jod.