মূল বিভাগ Hindustani Classical
Hindustani classical instrumental music is North Indian raga music played on instruments such as sitar, sarod, sarangi, bansuri and tabla, each with its own technique.
ঐতিহাসিক সময়রেখা
The sarod emerged in nineteenth-century North India as an adaptation of the Afghan rabab and related short-necked lutes. Its defining change is a metal plate over a fretless fingerboard. David Trasoff places it in the third quarter of the century; other accounts date the first sarods earlier. Gordon Thompson also notes influence from instruments such as the sursingar.
No source establishes a single inventor. Niamatullah Khan described fitting a metal plate to his instrument, a change Trasoff dates to about 1860 to 1870. His own Lucknow-Shahjahanpur gharana credits him with the first plated sarod; other lineages credit Ghulam Ali Khan's line. Hereditary Pathan musicians held the tradition until the late nineteenth century; Bengali musicians then took it up, and Calcutta became its main centre.
Playing developed in hereditary gharanas, or schools. Trasoff identifies three major traditions, tracing to Allauddin Khan, Ghulam Ali Khan and Murad Ali Khan; other writers group them in other ways. Design kept changing: in 1925 some players still used designs decades old, and Trasoff concludes that the changes can be listed without tracing one route through them.
Earliest known reference
An engraving and description by James Prinsep from Benares, dated 1830, are the earliest sarod reference known to David Trasoff. They show an instrument quite different from the modern sarod. Peter Yelding's 2026 thesis cites the sketch as 1831.
First sarod recordings released
Chunnu Khan of the Rampur sarod gharana, the first sarod player recorded according to Adrian McNeil, released discs of Ragas Pilu and Tilak Kamod in 1906. David Trasoff dates the recordings to 1906 to 1907.
A Maihar design prototype
Allauddin Khan and his brother, the instrument maker Ayet Ali Khan, rounded the body and standardised its dimensions in the 1920s and 1930s. David Trasoff dates the resulting Maihar design, the prototype of Ali Akbar Khan's sarod, to about 1934.
Ali Akbar College of Music in California
Ali Akbar Khan opened the Ali Akbar College of Music in Berkeley, California, in 1967, after founding a college of the same name in Calcutta in 1956. The California college moved to Marin County in 1968.
বাদনকৌশল
Fingernails on a fretless board
The left hand stops a melody string against the metal fingerboard, most often with a fingernail; some players use the fingertip, or nail and fingertip together. Gliding the nail along the string produces meend, a continuous slide between pitches. One practitioner notes that the player has no physical marker for each pitch to hold on to, even in the silences between plucked notes.
Sympathetic and drone strings
Laurent Aubert's 1982 account gives 13 to 25 strings, varying by design: 25 on the heavy Calcutta type of Allauddin Khan and his students, 19 to 20 on the lighter Delhi model of Hafiz Ali Khan's gharana. The player strikes two chikari, tuned an octave above the tonic, for rhythm. Sympathetic taraf strings, tuned to notes of the raga, ring when a main string sounds a matching note.
The java and the attack
The right hand plucks with the java, a plectrum traditionally of coconut shell, though some players use wood or nylon. Rahul Bhattacharya, a student of Amjad Ali Khan, writes that in Amjad Ali Khan's style the java sits between bridge and body, where pluck noise drops and volume peaks, and that other gharanas grip it differently. Strokes carry syllable names (bol) such as da and ra. Sources differ on which direction each names.
দক্ষতার পথে যাত্রা
এই শাখায় দক্ষ হতে এই সুপরিকল্পিত পথ অনুসরণ করুন
Control plectrum contact
Place a pitch without frets
Connect the hands
Find the composition in the cycle
Vary a phrase and return
আগের পরিবেশনা
বিশিষ্ট শিল্পী
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