ମୂଳ ବିଭାଗ 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.
ଐତିହାସିକ ସମୟରେଖା
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.
Afghan Rabab Arrives
The Afghan rabab arrives in North Indian courts with Afghan musicians and horse traders. Early adaptations begin as Indian luthiers experiment with modifications.
Transformation to Sarod
The Bangash family and other innovators add metal strings and a metal fingerboard. The instrument gains capacity for sustained notes and intricate ornamentation. The modern sarod takes recognisable form.
Gharana Formation
Allauddin Khan establishes the Maihar gharana, training students including his son Ali Akbar Khan. Parallel development continues in the Gwalior-based Bangash tradition.
International Recognition
Ali Akbar Khan and Amjad Ali Khan achieve international recognition. Recordings, concert tours, and educational institutions extend the sarod's global reach while maintaining classical integrity.
ବାଦନ କୌଶଳ
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.
ପାରଦର୍ଶିତାର ଯାତ୍ରା
ଏହି କଳା ଶାଖାରେ ପାରଦର୍ଶୀ ହେବା ପାଇଁ ଏହି ସୁସଂଗଠିତ ଯାତ୍ରା ଅନୁସରଣ କରନ୍ତୁ
Posture and Basic Strokes
Intonation and Meend
Stroke Patterns and Rhythm
Alap and Composition
Complete Performance Practice
ପୂର୍ବ ପରିବେଷଣ
ବିଶିଷ୍ଟ କଳାକାର
ଏହି ବିଧାର ପ୍ରସିଦ୍ଧ କଳାକାର