Guitar

The Guitar in Hindustani classical music represents a remarkable adaptation of a Western instrument to Indian melodic principles. Pioneered by Brij Bhushan Kabra in the mid-20th century, the Indian classical guitar demonstrates that raga can speak through any voice when approached with understanding and innovation. The instrument has proven capable of the sustained tones, ornamental nuances, and emotional depth essential to classical expression.

Kabra, originally trained as a geologist, discovered the Hawaiian lap slide guitar during a visit to Kolkata and recognised its potential for classical application. After studying with the legendary Ali Akbar Khan, he modified the guitar by adding sympathetic and drone strings, creating an instrument capable of the resonance and ornamentation characteristic of traditional Hindustani instruments.

"The guitar has no nation. It is a vessel waiting to be filled with whatever music the player pours into it."

The Kabra Revolution

Brij Bhushan Kabra became the first Indian artist to successfully present ragas in classical format on guitar. His 1967 collaborative album Call of the Valley, recorded with flautist Hariprasad Chaurasia and santoor master Shivkumar Sharma, achieved international recognition and remains one of the most influential Indian classical recordings. The album demonstrated that the guitar could participate equally with traditional instruments in serious classical discourse.

Kabra's approach used the slide technique of Hawaiian guitar, allowing the continuous pitch bending (meend) essential to raga grammar. By laying the guitar flat on the lap and sliding a metal bar across the strings, he achieved the glissandos impossible on standard fretted guitar. The addition of sympathetic strings created the shimmering resonance characteristic of sitar and sarod.

The Mohan Veena

Pandit Vishwa Mohan Bhatt extended this tradition, developing the Mohan Veena, a highly modified archtop guitar. His instrument features three melody strings, four drone strings, and twelve sympathetic strings, creating a hybrid that bridges Western and Indian instrument design. Bhatt's 1994 Grammy-winning album A Meeting By the River, recorded with American guitarist Ry Cooder, brought global attention to Indian slide guitar.

Technique and Adaptation

Classical guitar in the Indian tradition primarily uses slide technique rather than standard fretting. The guitar rests horizontally on the player's lap, with a metal or glass slide producing the continuous pitch variations essential to raga expression. The right hand may use fingerpicks or bare fingers, while the left hand controls the slide position and pressure.

Modifications to standard guitars include added strings (sympathetic and drone), adjusted bridge height, and sometimes altered body shape. These changes enhance sustain and resonance while providing the tonal reference points essential to modal music. Some players use purpose-built instruments while others modify standard guitars.

Contemporary Practice

The Indian classical guitar maintains a devoted following among players who appreciate its unique combination of Western construction and Indian expression. While not as prominent as traditional instruments in concert contexts, the guitar continues to attract students interested in approaching classical music through familiar Western forms. The slide guitar tradition established by Kabra and extended by Bhatt demonstrates the adaptability of raga principles to diverse instrumental voices.