Sarangi: Difference between revisions

Sarangi
Template:Infobox instrument/Classification
Classification	Chordophone;
Related instruments
	Sarinda; Taus; Dilruba/Esraj; Dhantara; Nepali Sarangi;

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Latest revision as of 07:58, 20 February 2026

The sarangi is a bowed, short-necked three-stringed instrument played in traditional music from South Asia.^[1] It is said to resemble the sound of the human voice through its ability to imitate vocal ornaments such as Gamaks or Gamakam (shakes) and meends (sliding movements).^[1] The Nepali sarangi is similar, but is a four-stringed, simpler folk instrument.^[1]

Playing[edit | edit source]

The repertoire of sarangi players is traditionally related to vocal music. Nevertheless, a concert with a solo sarangi as the main item will sometimes include a full-scale raga presentation with an extensive alap (the unmeasured improvisatory development of the raga).In increasing intensity (alap to jor to jhala) and several compositions in increasing tempo called bandish. As such, it could be seen as being on a par with other instrumental styles such as sitar, sarod, and bansuri.^[1]

It is rare to find a sarangi player who does not know the words of many classical compositions.^[1] The words are usually mentally present during the performance, and a performance almost always adheres to the conventions of vocal performances including the organisational structure, the types of elaboration, the tempo, the relationship between sound and silence, and the presentation of khyal and thumri compositions. The vocal quality of sarangi is in a separate category from, for instance, the so-called gayaki-ang of sitar which attempts to imitate the nuances of khyal while overall conforming to the structures and usually keeping to the gat compositions of instrumental music. (A gat is a composition set to a cyclic rhythm.)

The Nepali sarangi is a traditional stringed musical instrument of Nepal, commonly played by the Gaine or Gandarbha ethnic group; the form and repertoire of the instrument in Nepal is more folk oriented than in India, and it is particularly associated with Gandarbha people.^[1]

Structure[edit | edit source]

Carved from a single block of tun (red cedar) wood, the sarangi has a box-like shape with three hollow chambers: pet ('stomach'), chaati ('chest') and magaj ('brain').^[1]It is usually around 2 feet (0.61 m) long and around 6 inches (150 mm) wide, though it can vary as there are smaller as well as larger variant sarangis as well. The smaller ones are more stable in hand. The lower resonance chamber or pet is covered with parchment made out of goat skin on which a strip of thick leather is placed around the waist (and nailed on the back of the chamber) which supports the elephant-shaped bridge that is usually made of camel or buffalo bone. (Originally, it was made of ivory or Barasingha bone but now that is rare due to the ban in India). The bridge in turn supports the huge pressure of approximately 35–37 sympathetic steel or brass strings and three main gut strings that pass through it. The three main playing strings – the comparatively thicker gut strings – are bowed with a heavy horsehair bow and stopped not with the fingertips but with the nails, cuticles, and surrounding flesh. Talcum powder is applied to the fingers as a lubricant. The neck has ivory or bone platforms on which the fingers slide. The remaining strings are sympathetic, or tarabs, numbering up to around 35–37, divided into four choirs having two sets of pegs, one on the right and one on the top. On the inside is a chromatically tuned row of 15 tarabs and on the right a diatonic row of nine tarabs each encompassing a full octave, plus one to three extra surrounding notes above or below the octave. Both these sets of tarabs pass from the main bridge to the right side set of pegs through small holes in the chaati supported by hollow ivory/bone beads. Between these inner tarabs and on either side of the main playing strings lie two more sets of longer tarabs, with five to six strings on the right set and six to seven strings on the left set. They pass from the main bridge over to two small, flat, wide, table-like bridges through the additional bridge towards the second peg set on top of the instrument. These are tuned to the important tones (swaras) of the raga. A properly tuned sarangi will hum and cry and will sound like melodious meowing, with tones played on any of the main strings eliciting echo-like resonances. A few sarangis use strings manufactured from the intestines of goats.

Decline[edit | edit source]

Around the 20th century, the harmonium and violin began to be used as alternatives to the sarangi due to their comparative ease of handling.^[1]In Pakistan specifically, since the 1980s, the decline in sarangi playing has also been attributed to the deaths of several masters and extreme religious radicalization.^[2]

Notable performers[edit | edit source]

Sarangi players in India[edit | edit source]

Abdul Latif Khan (1934–2002)
Aruna Narayan (born 1959)
Ashique Ali Khan (1948–1999)
Bharat Bhushan Goswami (b. 1955)
Bundu Khan (1880–1955)
Dhruba Ghosh (1957–2017)
Ghulam Ali (Sarangi) (b. 1975)
Harsh Narayan (b. 1985)
Manonmani (b. 2000)
Ramesh Mishra (1948–2017)
Ram Narayan (b. 1927-2024)
Sabir Khan (Sarangi) (b. 1978)
Sabri Khan (1927–2015)
Siddiqui Ahmed Khan (1914–)
Suhail Yusuf Khan (b. 1988)
Sultan Khan (1940–2011)
Ustad Faiyaz Khan (born 1968)
Moinuddin Khan (musician) (died 2015)

Sarangi players in Pakistan[edit | edit source]

Allah Rakha (1932–2000)
Bundu Khan (1880–1955)
Nathu Khan (1920–1971)

Other sarangi players[edit | edit source]

Yuji Nakagawa, Sarangi – a Japanese citizen who learnt to play the instrument in India under the tutelage of Dhruba Ghosh

References[edit | edit source]

↑ ^1.0 ^1.1 ^1.2 ^1.3 ^1.4 ^1.5 ^1.6 ^1.7 Sound of Mughal-era sarangi instrument fading away in Pakistan. National Centre for the Performing Arts. 1987.
↑ "Sound of Mughal-era sarangi instrument fading away in Pakistan". The Express Tribune. The Express Tribune. 2026-01-10. Retrieved 2022-04-08.{{cite web}}: CS1 maint: url-status (link)

External links[edit | edit source]

Resham Firiri A popular Nepali folk music with a Sarangi and madal.
sarangi.info – downloadable sarangi and vocal music, including the integral of two important books, The Voice of the Sarangi by Joep Bor and Indian Music in Performance and Practice by Ram Narayan and Neil Sorrell.
Growing into Music – includes several films by Nicolas Magriel on Indian musical enculturation including films about the sarangi players, Farooq Latif Khan (b. 1975), Sarwar Hussain Khan (b. 1981), Mohammed Ali Khan, Sarangi (d. 2002), Ghulam Sabir Qadri (1922–), Vidya Sahai Mishra (d. 2019), Siddiqui Ahmed Khan (1914–), Ghulam Sabir Khan (b. 1948), Murad Ali (b. 1977), Faiyaz Khan (Varanasi), Zakan Khan (Varanasi) and Kanhaiyalal Mishra (Varanasi).
Sarangi, Gujarat, 19th century
Sarangi, ca. 1900
Sarangi, North India, late 19th century

[:0-1] 1.0 ^1.1 ^1.2 ^1.3 ^1.4 ^1.5 ^1.6 ^1.7 Sound of Mughal-era sarangi instrument fading away in Pakistan. National Centre for the Performing Arts. 1987.

[2] "Sound of Mughal-era sarangi instrument fading away in Pakistan". The Express Tribune. The Express Tribune. 2026-01-10. Retrieved 2022-04-08.{{cite web}}: CS1 maint: url-status (link)

[1]

[2]

@@ Line 8: / Line 8: @@
 | related        = * [[Sarinda (instrument)|Sarinda]]
 * [[Taus (instrument)|Taus]]
-* Dilruba/[[Esraj]]
+* [[Dilruba]]/[[Esraj]]
 *[[Dhantara]]
 * [[Sarangi (Nepali)|Nepali Sarangi]]
 }}
-The '''sārangī''' is a [[bow (music)|bowed]], short-necked [[string instrument|three-stringed instrument]] played in traditional music from South Asia – [[Folk music of Punjab|Punjabi folk music]], [[Music of Rajasthan|Rajasthani folk music]], and [[Boro people|Boro]] folk music (there known as the ''serja'') – in Pakistan, India and Bangladesh. It is said to most resemble the sound of the human voice through its ability to imitate vocal ornaments such as ''[[gamak]]s'' (shakes) and ''[[meend]]s'' (sliding movements). The [[Sarangi (Nepali)|Nepalese sarangi]] is similar but is a [[folk instrument]], unornate and four-stringed.
+The '''sarangi''' is a [[bow (music)|bowed]], short-necked [[string instrument|three-stringed instrument]] played in traditional music from South Asia.<ref name=":0">{{Cite book |title=Sound of Mughal-era sarangi instrument fading away in Pakistan |publisher=National Centre for the Performing Arts |year=1987}}</ref> It is said to  resemble the sound of the human voice through its ability to imitate vocal ornaments such as ''[[Gamak]]s or Gamakam'' (shakes) and ''[[meend]]s'' (sliding movements).<ref name=":0" /> The [[Sarangi (Nepali)|Nepali sarangi]] is similar, but is a four-stringed, simpler [[folk instrument]].<ref name=":0" />
-== History  ==
+== Playing  ==
-[[File:Sarangi tuning.jpg|thumb|150px|Surjeet Singh tuning his Sarangi]]
+[[File:Sarangi tuning.jpg|thumb|150px|Surjeet Singh tuning his sarangi]]
-According to some musicians,{{Who|date=August 2021}} the word ''sarangi'' is a combination of two words: ''seh'' ('three' in Persian) and ''rangi'' ('coloured' in Persian) or Persian ''sad-rangi'', ''sad'' for 'hundred' in Persian ('hundred coloured) corrupted as ''sarangi''.{{Citation needed|date=November 2018|reason=According to whom?}} The term ''seh-rangi'' represents the three melody strings. However, the most common folk etymology is that ''sarangi'' is derived from ''sol rang'' ('a hundred colours') indicating its adaptability to many styles of vocal music, its flexible tunability, and its ability to produce a large palette of tonal colour and emotional nuance.
+The repertoire of ''sarangi'' players is traditionally related to vocal music. Nevertheless, a concert with a solo sarangi as the main item will sometimes include a full-scale ''[[raga]]'' presentation with an extensive ''alap'' (the unmeasured improvisatory development of the raga).In increasing intensity (''alap'' to ''jor'' to ''jhala'') and several compositions in increasing tempo called ''bandish''. As such, it could be seen as being on a par with other instrumental styles such as [[sitar]], [[sarod]], and [[bansuri]].<ref name=":0" />
-The repertoire of ''sarangi'' players is traditionally very closely related to vocal music. Nevertheless, a concert with a solo ''sarangi'' as the main item will sometimes include a full-scale ''[[Raga|raag]]'' presentation with an extensive ''alap'' (the unmeasured improvisatory development of the raga) in increasing intensity (''alap'' to ''jor'' to ''jhala'') and several compositions in increasing tempo called ''bandish''. As such, it could be seen as being on a par with other instrumental styles such as [[sitar]], [[sarod]], and [[bansuri]].
+It is rare to find a sarangi player who does not know the words of many classical compositions.<ref name=":0" /> The words are usually mentally present during the performance, and a performance almost always adheres to the conventions of vocal performances including the organisational structure, the types of elaboration, the tempo, the relationship between sound and silence, and the presentation of ''[[khyal]]'' and ''[[thumri]]'' compositions. The vocal quality of sarangi is in a separate category from, for instance, the so-called ''gayaki-ang'' of [[sitar]] which attempts to imitate the nuances of ''khyal'' while overall conforming to the structures and usually keeping to the ''gat'' compositions of instrumental music. (A ''gat'' is a composition set to a cyclic rhythm.)
-It is rare to find a ''sarangi'' player who does not know the words of many classical compositions.{{Citation needed|date=August 2021}} The words are usually mentally present during the performance, and a performance almost always adheres to the conventions of vocal performances including the organisational structure, the types of elaboration, the tempo, the relationship between sound and silence, and the presentation of ''[[khyal]]'' and ''[[thumri]]'' compositions. The vocal quality of ''sarangi'' is in a separate category from, for instance, the so-called ''gayaki-ang'' of [[sitar]] which attempts to imitate the nuances of ''khyal'' while overall conforming to the structures and usually keeping to the ''gat'' compositions of instrumental music. (A ''gat'' is a composition set to a cyclic rhythm.)
+The [[Sarangi (Nepali)|Nepali sarangi]] is a traditional stringed musical instrument of [[Nepal]], commonly played by the Gaine or [[Gandarbha]] ethnic group; the form and repertoire of the instrument in Nepal is more folk oriented than in India, and it is particularly associated with Gandarbha people.<ref name=":0" />
-The [[Sarangi (Nepali)|Nepali Sarangi]] is also a traditional stringed musical instrument of [[Nepal]], commonly played by the Gaine or [[Gandarbha]] ethnic group but the form and repertoire of ''sarangi'' is more towards the folk music as compared to the heavy and classical form of the repertoire in [[India]]. In Nepal, Sarangi is viewed as an iconic musical instrument to identify the Gandarbha people.
 == Structure ==
 [[File:Sarangi lying.jpg|thumb|right|A sarangi laid flat]]
-Carved from a single block of ''tun'' ([[Toona ciliata|red cedar]]) wood, the ''sarangi'' has a box-like shape with three hollow chambers: ''pet'' ('stomach'), ''chaati'' ('chest') and ''magaj'' ('brain'). It is usually around {{convert|2|ft}} long and around {{convert|6|in}} wide, though it can vary as there are smaller as well as larger variant ''sarangis'' as well.The smaller ones are more stable in hand. The lower resonance chamber or ''pet'' is covered with [[parchment]] made out of goat skin on which a strip of thick leather is placed around the waist (and nailed on the back of the chamber) which supports the elephant-shaped bridge that is usually made of camel or buffalo bone. (Originally, it was made of ivory or [[Barasingha]] bone but now that is rare due to the ban in India). The bridge in turn supports the huge pressure of approximately 35–37 sympathetic steel or brass strings and three main gut strings that pass through it. The three main playing strings&nbsp;– the comparatively thicker gut strings&nbsp;– are bowed with a heavy horsehair bow and stopped not with the fingertips but with the [[Nail (anatomy)|nails]], cuticles, and surrounding flesh. [[Talcum powder]] is applied to the fingers as a lubricant. The neck has ivory or bone platforms on which the fingers slide. The remaining strings are [[Sympathetic string|resonance strings]] or ''tarabs'', numbering up to around 35–37, divided into four choirs having two sets of pegs, one on the right and one on the top. On the inside is a [[chromatic]]ally tuned row of 15 ''tarabs'' and on the right a [[diatonic]] row of nine ''tarabs'' each encompassing a full [[octave]], plus one to three extra surrounding notes above or below the octave. Both these sets of ''tarabs'' pass from the main bridge to the right side set of pegs through small holes in the ''chaati'' supported by hollow ivory/bone beads. Between these inner ''tarabs'' and on either side of the main playing strings lie two more sets of longer ''tarabs'', with five to six strings on the right set and six to seven strings on the left set. They pass from the main bridge over to two small, flat, wide, table-like bridges through the additional bridge towards the second peg set on top of the instrument. These are tuned to the important tones (''[[swara]]s'') of the raga. A properly tuned ''sarangi'' will hum and cry and will sound like melodious meowing, with tones played on any of the main strings eliciting echo-like resonances. A few ''sarangis'' use strings manufactured from the intestines of goats.
+Carved from a single block of ''tun'' ([[Toona ciliata|red cedar]]) wood, the sarangi has a box-like shape with three hollow chambers: ''pet'' ('stomach'), ''chaati'' ('chest') and ''magaj'' ('brain').<ref name=":0" />It is usually around {{convert|2|ft}} long and around {{convert|6|in}} wide, though it can vary as there are smaller as well as larger variant sarangis as well. The smaller ones are more stable in hand. The lower resonance chamber or ''pet'' is covered with [[parchment]] made out of goat skin on which a strip of thick leather is placed around the waist (and nailed on the back of the chamber) which supports the elephant-shaped bridge that is usually made of camel or buffalo bone. (Originally, it was made of ivory or [[Barasingha]] bone but now that is rare due to the ban in India). The bridge in turn supports the huge pressure of approximately 35–37 [[Sympathetic string|sympathetic steel or brass strings]] and three main gut strings that pass through it. The three main playing strings&nbsp;– the comparatively thicker gut strings&nbsp;– are bowed with a heavy horsehair bow and stopped not with the fingertips but with the [[Nail (anatomy)|nails]], cuticles, and surrounding flesh. [[Talcum powder]] is applied to the fingers as a lubricant. The neck has ivory or bone platforms on which the fingers slide. The remaining strings are sympathetic, or ''tarabs'', numbering up to around 35–37, divided into four choirs having two sets of pegs, one on the right and one on the top. On the inside is a [[chromatic]]ally tuned row of 15 ''tarabs'' and on the right a [[diatonic]] row of nine ''tarabs'' each encompassing a full [[octave]], plus one to three extra surrounding notes above or below the octave. Both these sets of ''tarabs'' pass from the main bridge to the right side set of pegs through small holes in the ''chaati'' supported by hollow ivory/bone beads. Between these inner ''tarabs'' and on either side of the main playing strings lie two more sets of longer ''tarabs'', with five to six strings on the right set and six to seven strings on the left set. They pass from the main bridge over to two small, flat, wide, table-like bridges through the additional bridge towards the second peg set on top of the instrument. These are tuned to the important tones (''[[swara]]s'') of the raga. A properly tuned sarangi will hum and cry and will sound like melodious meowing, with tones played on any of the main strings eliciting echo-like resonances. A few sarangis use strings manufactured from the intestines of goats.
-== Pakistan ==
+== Decline ==
-Sarangi is a [[Mughal Empire|Mughal-era]] musical instrument. Sarangi decline in Pakistan began in the 1980s after the death of several master players. The instrument costs around [[Pakistani rupee|Rs.]] 120,00/- (about $160).<ref>{{Cite web |date=2022-04-08 |title=Sound of Mughal-era sarangi instrument fading away in Pakistan |url=http://tribune.com.pk/story/2351548/sound-of-mughal-era-sarangi-instrument-fading-away-in-pakistan |access-date=2022-04-08 |website=The Express Tribune |language=en}}</ref>
+Around the 20th century, the harmonium and violin began to be used as alternatives to the sarangi due to their comparative ease of handling.<ref name=":0" />In Pakistan specifically, since the 1980s, the decline in sarangi playing has also been attributed to the deaths of several masters and extreme religious radicalization.<ref>{{Cite web |date=2026-01-10 |title=Sound of Mughal-era sarangi instrument fading away in Pakistan |url=http://tribune.com.pk/story/2351548/sound-of-mughal-era-sarangi-instrument-fading-away-in-pakistan |url-status=live |access-date=2022-04-08 |website=The Express Tribune |publisher=The Express Tribune |language=en}}</ref>
 == Notable performers ==
 ===Sarangi players in India===
-* [[Abdul Latif Khan]] (1934-2002)
+* [[Abdul Latif Khan]] (1934–2002)
 * [[Aruna Narayan]] (born 1959)
-* [[Ashique Ali Khan]] (1948-1999)
+* [[Ashique Ali Khan]] (1948–1999)
 * [[Bharat Bhushan Goswami]] (b. 1955)
-* [[Bundu Khan]] (1880-1955)
+* [[Bundu Khan]] (1880–1955)
-* [[Dhruba Ghosh]] (1957-2017)
+* [[Dhruba Ghosh]] (1957–2017)
 * [[Ghulam Ali (singer)|Ghulam Ali]] (Sarangi)  (b. 1975)
 * [[Harsh Narayan]] (b. 1985)
-* [[Kamal Sabri]] (b. 1974)
 * [[Manonmani]] (b. 2000)
-* [[Ramesh Mishra]] (1948-2017)
+* [[Ramesh Mishra]] (1948–2017)
-* [[Ram Narayan]] (b. 1927)
+* [[Ram Narayan]] (b. 1927-2024)
 * [[Sabir Khan (musician)|Sabir Khan]] (Sarangi) (b. 1978)
-* [[Sabri Khan]] (1927-2015)
+* [[Sabri Khan]] (1927–2015)
-* [[Siddiqui Ahmed Khan]] (1914-)
+* [[Siddiqui Ahmed Khan]] (1914–)
 * [[Suhail Yusuf Khan]] (b. 1988)
-* [[Dishad Khan]]([[musician]])
+* [[Sultan Khan (musician)|Sultan Khan]] (1940–2011)
-* [[Sultan Khan (musician)|Sultan Khan]] (1940-2011)
 * [[Ustad Faiyaz Khan (Karnataka singer)|Ustad Faiyaz Khan]] (born 1968)
-* [[Hanuman Prasad Mishra]]([[musician]])
+* [[Moinuddin Khan (musician)]] (died 2015)
-* [[Anant Kunte]]
-* [[Moinuddin Khan (musician)]]
 ===Sarangi players in Pakistan===
-* [[Allah Rakha (sarangi)|Allah Rakha]] (1932-2000)
+* [[Allah Rakha (sarangi)|Allah Rakha]] (1932–2000)
-* [[Bundu Khan]] (1880-1955)
+* [[Bundu Khan]] (1880–1955)
-* [[Nathu Khan]] (1920-1971)
+* [[Nathu Khan]] (1920–1971)
 ===Other sarangi players===
@@ Line 76: / Line 70: @@
 ==Further reading==
 * Bor, Joep, 1987: "The Voice of the Sarangi", comprising ''National Centre for the Performing Arts Quarterly Journal'' 15 (3–4), December 1986 and March 1987 (special combined issue), Bombay: NCPA
-* Magriel, Nicolas, 1991 ''Sarangi Style in North Indian Music'' (published Ph.D. thesis), London: University of London, available on amazon.com
+*{{cite book |last1=Magriel |first1=Nicolas |title=Sāraṅgī style in Hindustani music |date=2021 |publisher=iMerc |location=London |isbn=978-1905351398}}
 * Qureshi, Regula Burckhardt, 1997: “The Indian Sarangi: Sound of Affect, Site of Contest”, Yearbook for Traditional Music, pp.&nbsp;1–38
 * Sorrell, Neil (with Ram Narayan), 1980: ''Indian Music in Performance'', Bolton:  Manchester University Press
 == External links ==
+{{Commons category|Sarangis}}
 *[http://www.ibiblio.org/musicnepal/2.mp3 Resham Firiri] A popular Nepali folk music with a Sarangi and ''[[madal]]''.
 *[http://sarangi.info sarangi.info] – downloadable sarangi and vocal music, including the integral of two important books, ''The Voice of the Sarangi'' by Joep Bor and ''Indian Music in Performance and Practice'' by Ram Narayan and Neil Sorrell.
-*[http://www.growingintomusic.co.uk Growing into Music] – includes several films by Nicolas Magriel on Indian musical enculturation including films about the sarangi players, [[Farooq Latif Khan]] (b. 1975), [[Sarwar Hussain Khan]] (b. 1981), [[Mohammed Ali Khan, Sarangi]] (d. 2002), [[Ghulam Sabir Qadri]] (1922-), Vidya Sahai Mishra (d. 2019), [[Siddiqui Ahmed Khan]] (1914-), [[Ghulam Sabir Khan]] (b. 1948), [[Murad Ali]] (b. 1977), [[Faiyaz Khan (Varanasi)]], [[Zakan Khan (Varanasi)]] and [[Kanhaiyalal Mishra (Varanasi)]].
+*[http://www.growingintomusic.co.uk Growing into Music] – includes several films by Nicolas Magriel on Indian musical enculturation including films about the sarangi players, [[Farooq Latif Khan]] (b. 1975), [[Sarwar Hussain Khan]] (b. 1981), [[Mohammed Ali Khan, Sarangi]] (d. 2002), [[Ghulam Sabir Qadri]] (1922–), Vidya Sahai Mishra (d. 2019), [[Siddiqui Ahmed Khan]] (1914–), [[Ghulam Sabir Khan]] (b. 1948), [[Murad Ali]] (b. 1977), [[Faiyaz Khan (Varanasi)]], [[Zakan Khan (Varanasi)]] and [[Kanhaiyalal Mishra (Varanasi)]].
 *[http://www.metmuseum.org/toah/hd/indi/ho_89.4.200.htm Sarangi, Gujarat, 19th century]
 *[http://www.metmuseum.org/toah/hd/indi/ho_1982.143.2.htm Sarangi, ca. 1900]

v t e Indian musical instruments
Wind (Sushir)	Bansuri Harmonium Kombu Nadaswaram Pungi Shankha Shehnai Shruti box Venu
Plucked Stringed (Tat)	Dotara Ektara Gottuvadhyam Pena Rudra veena Santoor Saraswati veena Sarod Seni Rebab Sitar Surbahar Swarmandal Tanpura Electronic tanpura Veena Vichitra veena Yazh
Bowed Stringed (Vitat)	Dilruba Esraj Sarangi Sarinda Taus Violin
Membranous Percussion (Avanaddh)	Anandalahari Chande Chenda Damaru Dhaak Duggi Dhol Dholak Dholki Edakka Kanjira Khamak Khol Madal Mardala Mizhav Mridangam Nagada Pakhawaj Parai Sambal Tabla Tavil Udukai
Non-Membranous Percussion (Ghan)	Chimta Ghatam Ghungroo Jal tarang Kartal Khanjani Khartal Manjira Morsing
Other	Bharatiya Sangeet Vadya Indian classical music Music of India Jivari
Historical/ possibly extinct	Ālāpiṇī vīṇā Eka-tantri vina Kinnari vina Pinaka vina