Sarod - Revision history

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	The design of the instrument depends on the school ([[gharana]]) of playing. There are three distinguishable types:		The design of the instrument depends on the school ([[gharana]]) of playing. There are three distinguishable types:

	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 ''chikari'' 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 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 [[goat]] 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 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.		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 ''chikari'' 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 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 [[goat]] 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 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.

	Another type is that designed by Allauddin Khan and his brother Ayet Ali Khan. This instrument, referred to by [[David Trasoff]] as the 1934 Maihar Prototype,<ref>(Trasoff, 2000)</ref> 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 ''jod'' strings (tuned to ''Ni'' or ''Dha'', ''R/r'', ''G/g'' and ''Sa'' respectively), two ''chikari'' strings (tuned to ''Sa'' of the upper [[octave]]) and fifteen ''tarab'' strings. The main strings are tuned to ''Ma'' ("fa"), ''Sa'' ("do"), lower ''Pa'' ("so") and lower ''Sa'', giving the instrument a range of three octaves. The Maihar sarod lends itself extremely well to the presentation of alap with the four ''jod'' 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.		Another type is that designed by Allauddin Khan and his brother Ayet Ali Khan. This instrument, referred to by [[David Trasoff]] as the 1934 Maihar Prototype,<ref>Trasoff, 2000</ref> 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 ''jod'' strings (tuned to ''Ni'' or ''Dha'', ''R/r'', ''G/g'' and ''Sa'' respectively), two ''chikari'' strings (tuned to ''Sa'' of the upper [[octave]]) and fifteen ''tarab'' strings. The main strings are tuned to ''Ma'' ("fa"), ''Sa'' ("do"), lower ''Pa'' ("so") and lower ''Sa'', giving the instrument a range of three octaves. The Maihar sarod lends itself extremely well to the presentation of alap with the four ''jod'' 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.

	Sarod strings are either made of [[steel]] or [[phosphor bronze]]. 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 [[plectrum]] (''java'') made of polished [[coconut]] shell, ebony, cocobolo wood, horn, cowbone, [[Polyoxymethylene\|Delrin]] or other such materials. Early sarod players used plain wire plectrums, which yielded a soft, ringing tone.		Sarod strings are either made of [[steel]] or [[phosphor bronze]]. 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 [[plectrum]] (''java'') made of polished [[coconut]] shell, ebony, cocobolo wood, horn, cowbone, [[Polyoxymethylene\|Delrin]] or other such materials. Early sarod players used plain wire plectrums, which yielded a soft, ringing tone.
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	==Notable sarodiyas==		==Notable sarodiyas==
	===~~Dead~~===		===Deceased===
	* [[Mohammad Amir Khan]] (1873–1934), Court Musician of Darbhanga and Rajshahi		* [Mohammad Amir Khan] (1873–1934), Court Musician of Darbhanga and Rajshahi

	[[File:Ustad Alauddin Khan.jpg\|thumb\|[[Allauddin Khan]]]]		[[File:Ustad Alauddin Khan.jpg\|thumb\|[[Allauddin Khan]]]]
	* [[Allauddin Khan]] (1862–1972)		* [[Allauddin Khan]] (1862–1972)
	* [[Hafiz Ali Khan]] (1888–1972)		* [[Hafiz Ali Khan]] (1888–1972)
	* [[Ali Akbar Khan]] (1922–2009)		* [[Ali Akbar Khan]] (1922–2009)
	* [[Bahadur Khan]] (~~1931-1989~~)		* [[Bahadur Khan]] (1931–1989)
	* [[Buddhadev Das Gupta]] (~~1933-2018~~)		* [[Buddhadev Das Gupta]] (1933–2018)
	* [[Kalyan Mukherjea]] (1943–2010)		* [[Kalyan Mukherjea]] (1943–2010)
	* [[Sakhawat Hussain]] (1877–1955)		* [[Sakhawat Hussain]] (1877–1955)
	* [[Sharan Rani Backliwal]] (1929–2008)		* [[Sharan Rani Backliwal]] (1929–2008)
	* [[Radhika Mohan Maitra]] (1917–1981)		* [[Radhika Mohan Maitra]] (1917–1981)
	* [[Vasant Rai]] (~~1942-1985~~)		* [[Vasant Rai]] (1942–1985)
	* [[~~Kamal Mallick~~]] (~~1934-2014~~) * [[Rajesh Chandra Moitra]] (1932-2012). * [[Kamlesh Moitra]] .		* [[Shahadat Hossain Khan]] (1958–2020)

	===Living===		===Living===
			* [[Rajeev Taranath]] (b. 1932)
			* [[Aashish Khan]] (b. 1939)
	* [[Amjad Ali Khan]] (b. 1945)		* [[Amjad Ali Khan]] (b. 1945)
	* [[Brij Narayan]] (b. 1952)		* [[Brij Narayan]] (b. 1952)
	* [[~~Aashish Khan~~]] (b. ~~1939~~)		* [[Narendra Nath Dhar]] (b. 1954)
	* [[Rajeev Taranath]] (b. 1932)
	* [[Biswajit Roy Chowdhury]] (b. 1956)		* [[Biswajit Roy Chowdhury]] (b. 1956)
	* [[Partho Sarathy Chowdhury]] (b.1960)
	* [[Anindyo Banerjee]] (b. 1958)
	* [[Tejendra Majumdar]] (b. 1961)		* [[Tejendra Majumdar]] (b. 1961)
	* [[Anirban Dasgupta]] (b.1968)
	* [[Amaan Ali Khan]] (b. 1977)		* [[Amaan Ali Khan]] (b. 1977)
	* [[Ayaan Ali Khan]] (b. 1979)		* [[Ayaan Ali Khan]] (b. 1979)
	* [[Abhisek Lahiri]] (b. 1983)		* [[Abhisek Lahiri]] (b. 1983)
			* [[Abanindra Maitra]] (b.1953)
	* [[Vikash Maharaj]] (b. 1957)		* [[Vikash Maharaj]] (b. 1957)
	* [[Wajahat Khan]]		* [[Wajahat Khan]]
	* [[Arnab Chakrabarty]]		* [[Arnab Chakrabarty]]
	* [[Soumik Datta]]		* [[Soumik Datta]]
	* [[Vishal Maharaj]]		* [[Abhishek Borkar]]
			* [[Debasmita Bhattacharya]]
			* [[Debanjan Bhattacharjee]]
			* [[Vishal Maharaj]] (b. 1986)
			* Rajeeb Chakraborty
			* Prattyush Banerjee
			*
			*

	==See also==		==See also==

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Intelligence Journal at 18:04, 27 May 2021

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	The word ''sarod'' roughly translates to "beautiful sound" or "melody" in [[Persian language\|Persian]]. Although the sarod has been referred to as a "[[bass (instrument)\|bass]] rubab"<ref name=bassrebab>{{cite web\| url = http://www.chandrakantha.com/articles/indian_music/sarod.html\| title = Sarod\| access-date = 2006-12-02\| last = Courtney\| first = David\| publisher = David and Chandrakantha Courtney}}</ref> its tonal bandwidth is actually considerably greater than that of the rubab, especially in the middle and high registers. [[Lalmani Misra]] opines in his ''[[Bharatiya Sangeet Vadya]]'' that the sarod is a combination of the ancient chitravina, the medieval rubab and modern [[Surasingar\|sursingar]]. 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.		The word ''sarod'' roughly translates to "beautiful sound" or "melody" in [[Persian language\|Persian]]. Although the sarod has been referred to as a "[[bass (instrument)\|bass]] rubab"<ref name=bassrebab>{{cite web\| url = http://www.chandrakantha.com/articles/indian_music/sarod.html\| title = Sarod\| access-date = 2006-12-02\| last = Courtney\| first = David\| publisher = David and Chandrakantha Courtney}}</ref> its tonal bandwidth is actually considerably greater than that of the rubab, especially in the middle and high registers. [[Lalmani Misra]] opines in his ''[[Bharatiya Sangeet Vadya]]'' that the sarod is a combination of the ancient chitravina, the medieval rubab and modern [[Surasingar\|sursingar]]. 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.

			==References==

Intelligence Journal at 18:04, 27 May 2021

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	\|caption3=Mongolian lute, circa 1297, Tomb of Wang Qing, China		\|caption3=Mongolian lute, circa 1297, Tomb of Wang Qing, China
	}}		}}

			Many scholars of Indian classical music believe that the sarod is a combination of the ancient [[chitravina]], the medieval Indian rabab (aka the [[Seni rebab\|seniya rabab]]<ref>{{Cite web\|url=https://www.sursringar.org/\|title=Sursringar.Org\|website=www.sursringar.org}}</ref>) and modern [[sursingar]]. Some scholars even contend that a similar instrument may have existed about two thousand years ago in ancient India during the ages of the Gupta kings. In fact, a Gupta period coin depicts the great king Samudragupta playing a veena, which many believe to be the precursor of the sarod. The present Indian Traces of similar Rabab style instruments can also be found in southern India, especially in the states of Tamil Nadu, Kerala and Karnataka, where it is known as the [[Swarabat\|swarbat]]. The folk rabab, an instrument popular in north India, had a wooden fingerboard, its strings were made of silk, cotton or gut, and it was played with a wooden pick. In history, reference is also made to a Sharadiya Veena from which the name Sarod have been derived. The sarod is also believed to have descended from the [[Rubab (instrument)\|Afghan rubab]], a similar instrument originating in [[Central Asia]] and [[Afghanistan]].<ref>Miner, Allyn. 1993. "Sitar and Sarod in the Eighteenth and Nineteenth Centuries", International Institute for Traditional Music, Berlin.</ref>

			The word ''sarod'' roughly translates to "beautiful sound" or "melody" in [[Persian language\|Persian]]. Although the sarod has been referred to as a "[[bass (instrument)\|bass]] rubab"<ref name=bassrebab>{{cite web\| url = http://www.chandrakantha.com/articles/indian_music/sarod.html\| title = Sarod\| access-date = 2006-12-02\| last = Courtney\| first = David\| publisher = David and Chandrakantha Courtney}}</ref> its tonal bandwidth is actually considerably greater than that of the rubab, especially in the middle and high registers. [[Lalmani Misra]] opines in his ''[[Bharatiya Sangeet Vadya]]'' that the sarod is a combination of the ancient chitravina, the medieval rubab and modern [[Surasingar\|sursingar]]. 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.

Intelligence Journal: Created page with "{{Short description|Indian musical instrument}} A 19th century sarod, at the Metropolitan Museum of Art. The '''Sarod''' is a Strin..."

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Created page with "{{Short description|Indian musical instrument}} thumb|A 19th century sarod, at the Metropolitan Museum of Art. The '''Sarod''' is a Strin..."

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{{Short description|Indian musical instrument}}
[[File:Sarod MET DP-14177-002.jpg|thumb|A 19th century sarod, at the Metropolitan Museum of Art.]]
The '''Sarod''' is a [[String instrument|stringed instrument]], used mainly in [[Hindustani music]] on the [[Indian subcontinent]]. Along with the [[sitar]], it is among the most popular and prominent instruments.<ref>{{Cite web|url=https://omeka1.grinnell.edu/MusicalInstruments/items/show/19|title=sarod · Grinnell College Musical Instrument Collection|website=omeka1.grinnell.edu|access-date=2019-10-13}}</ref> It is known for a deep, weighty, introspective sound, in contrast with the sweet, overtone-rich texture of the sitar, with [[sympathetic string]]s that give it a resonant, reverberant quality. A fretless instrument, it can produce the continuous slides between notes known as [[meend]] ([[glissandi]]), which are important in Indian music.<ref>{{Cite web|url=https://www.umass.edu/newsoffice/article/classical-indian-musician-amjad-ali-khan|title=Classical Indian Musician Amjad Ali Khan to Perform March 1 at FAC|website=Office of News & Media Relations {{!}} UMass Amherst|language=en|access-date=2019-10-13}}</ref><ref>{{Cite web|url=https://www.itcsra.org/meend|title=ITC Sangeet Research Academy|website=www.itcsra.org|access-date=2019-10-13}}</ref>

==Origins==
{{multiple image|caption_align=center
|header_align=center
|header=Historical instruments
| align = right
| image1 = 13th century rubab from ceramic plate, Rayy ( Iran ) ca 1200 CE.jpg
| width1 = 140
| alt1 = Iranian rubab image on ceramic plate
| caption1 = Iranian style rubab from the 13th century C.E., found in Rayy (near Tehran, Iran).

|image2 = Man playing Lyre from Yusufzai Gandhara.jpg
| width2 = 116
| alt2 = Siddhartha playing the lute, sculpture
| caption2 =[[Kushan Empire]], 1st to 3rd century. Lute or vina, from the [[Yusufzai]] district near [[Peshawar]]. [[Greco-Buddhist art|Greco Buddhist]] ([[Gandhara]] School). Resembles [[rubab (instrument)|rubab]], sarod and [[tungna]].

|image3 = Mongolian lute, circa 1279-1368, Tomb of Wang Qing.jpg
|width3 = 140
|alt3= Painting of rubab found in Mongolian grave in China
|caption3=Mongolian lute, circa 1297, Tomb of Wang Qing, China
}}