How to Play Sitar

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How to Play Sitar

by Vikas Aggarwal

Description

Introduction to musical notes>

In Indian Classical Music Naad produces Shruti, which in turn produces musical notes (Swars). Naads are of two types.

1. Anahat Naad :- Naad produced without making any sound is called Anahat Naad. When you close your ears with your fingers. 'Ghan Ghan' sound is produced. Since it is produced without any stroke, it is called Anahat Naad.

2. Ashat Naad :- The sound that is produced by stroke, touch, friction, is called Aahat Naad. Music relates to this Naad and Musical Notes are produced from this Naad.

Difference between Swar and Shruti

Shruti means what you can only hear. The sound or Dhwani which you can hear is Shruti. Shruti when shown only by mingling of two notes in music and by touching is called Shruti; when there is pause in Shruti, and its sound is heard in steady manner, it is called 'Swar'.

Indian Music is based on 22 'Shrutis'. 'Swaras' are born from these 'Shrutis'. There are seven Swaras in Music- Sa, Re, Ga, Ma, Pa, Dha, Ni

Swaras are of two types-

(i) Komal Swaras - Komal Swaras are the ones which are higher or lower than the normal Swaras. These are also called 'Vikrit' notes.

(ii) Tivra (Pure) notes - Tivra means sharp. These notes are pure notes. But 'Ma' Swara is the only Komal Swara, which is called Pure. Tivra 'Ma' is Vikrit (Impure).

Except 'Sa' and 'Pa', all Swaras are Komal and Tivra. Sa and Pa are not Komal. These Swaras are stagnant; meaning thereby that sound doesn't to high or low. They are firm in their place.

Contents

First Day	Introduction to musical notes:1. Komal Swaras, 2. Tivra Swara, Saptak:-1. Mandra saptak, 2. Madhya Saptak, Taar Saptak, Introduction to sings in Music-notations.	5-7
	Western Notation	8-11
Second Day	Holding the Sitar,method of wearing (Mijraab). Pictoral representation of keeping fingers, sitting position of men and women while playing sitar, Bols of Sitar, Tuning the Sitar.	12-16
Third Day	Method of playing Sitar. Various Swaras are produced by pressing the wire on the different portion of screen, meaning coordinating wires with Swaras, Sargams of pure notes which includes Aarohi and Avrohi for practicing.	17-26
Fourth Day	Introducing:-1. Thaat Bilawal, 2. Thaat Kalyan, 3. Thaat Khammaj, 4. Thaat Bhairav, 5.. Thaat Purvi, 6. Thaat Marva, 7. Thaat Kaafi, 8. Thaat Aasavari, 9. Thaat Bhairavi, 10. Thaat Todi.	27-38
Fifth Day	Introducing Raags-Jaati of Raags, Vadi Samvadi, 1. Raag Bilawal, 2. Raag Yaman, 3. Raag Khammaj, 4. Raag Kaafi, 5. Raag Aasavari, 6. Raag Bhairavi, 7. Raag Marva, 8. Raag Bahar, 9. Raag Kedara, 10. Raag Bhimpalasi, Gaten Raage, within Taal and matra 1. Gat Raag Bilawal, 2. Gat Raag Yaman, 3. Gat Raag Khammaj, 4. Gat Raag Kaafi, 5. Gat Raag Aasawari, 6. Raag Bhairavi, 7. Gat Raag Marva, 8. Gat Raag Bahar, 9. Gat Raag Kedara, 10. Gat Raag Bhimpalasi	39-48
Sixty Day	Practicing hit filmi-songs
	1. Mai ni mai munder pe tere	49
	2. Mai tujhko bhaga laya hun	51
	3. Didi tera dewar diwana	53
	4. Ai mere pyare watan	55
	5. Dil to pagal hai	57
	6. Sona kitna sona hai	59
	7. Sandese aate hain humen tadpate hain	61
	8. Babul ka ye ghar gori	65
	9. Roop suhana lagta hai	66
	10. Ye teri aankhen	68
	11. Bajigar o bajigar	69
	12. Hum tumse juda hoke	71
	13. Mehandi laga ke rakhna	73
	14. Ai mere watan ke logon	75
	15. Koyal kuke huk uthai	79
	16. Achha sila diya tune mere pyar ka	81
Seventh Day	Filmi, Non-filmi Songs-Gazal-Bhajan etc.
	17. Kaht ahai jokar sara jamana	82
	18. Mera piya ghar aaya	83
	19. Puchho jara puccho mujhe kya hua hai	85
	20. Rang bares bhige chunar wali	87
	21. Humko sirf tumse pyar hai	88
	22. Chand si mehbooba ho meri	90
	23. Tu chij badi hai mast mast	92
	24. choo lene do najuk honthon ko	94
	25. Ai meri johra jabin	95
	26. Ye mere prem patra padhkar	96
	27. Kis tarah jite hain	98
	28. Wo dur ke musafir	100
	29. Waqt se din aur raat	101
	30. Ye do diwane dil ke	103
	31. Ye do diwane dil ke	105
	32. Kitna pyara tujhe	106
	33. Bewafa yun tera muskurana	109
	34. Ishque mein kya batayen ke dono	111-112

Sample Pages

How to Play Sitar

by Vikas Aggarwal

Item Code:

IDJ863

Cover:

Paperback

Publisher:

Creative Publications

ISBN:

8176810193

Size:

9.1" X 7.1"

Pages:

112 (Black & White Illustrated is 11)

Other Details:

Weight of the Book: 333 gms

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Introduction to musical notes>

In Indian Classical Music Naad produces Shruti, which in turn produces musical notes (Swars). Naads are of two types.

2. Ashat Naad :- The sound that is produced by stroke, touch, friction, is called Aahat Naad. Music relates to this Naad and Musical Notes are produced from this Naad.

Difference between Swar and Shruti

Indian Music is based on 22 'Shrutis'. 'Swaras' are born from these 'Shrutis'. There are seven Swaras in Music- Sa, Re, Ga, Ma, Pa, Dha, Ni

Swaras are of two types-

(i) Komal Swaras - Komal Swaras are the ones which are higher or lower than the normal Swaras. These are also called 'Vikrit' notes.

(ii) Tivra (Pure) notes - Tivra means sharp. These notes are pure notes. But 'Ma' Swara is the only Komal Swara, which is called Pure. Tivra 'Ma' is Vikrit (Impure).

Except 'Sa' and 'Pa', all Swaras are Komal and Tivra. Sa and Pa are not Komal. These Swaras are stagnant; meaning thereby that sound doesn't to high or low. They are firm in their place.

Contents

First Day	Introduction to musical notes:1. Komal Swaras, 2. Tivra Swara, Saptak:-1. Mandra saptak, 2. Madhya Saptak, Taar Saptak, Introduction to sings in Music-notations.	5-7
	Western Notation	8-11
Second Day	Holding the Sitar,method of wearing (Mijraab). Pictoral representation of keeping fingers, sitting position of men and women while playing sitar, Bols of Sitar, Tuning the Sitar.	12-16
Third Day	Method of playing Sitar. Various Swaras are produced by pressing the wire on the different portion of screen, meaning coordinating wires with Swaras, Sargams of pure notes which includes Aarohi and Avrohi for practicing.	17-26
Fourth Day	Introducing:-1. Thaat Bilawal, 2. Thaat Kalyan, 3. Thaat Khammaj, 4. Thaat Bhairav, 5.. Thaat Purvi, 6. Thaat Marva, 7. Thaat Kaafi, 8. Thaat Aasavari, 9. Thaat Bhairavi, 10. Thaat Todi.	27-38
Fifth Day	Introducing Raags-Jaati of Raags, Vadi Samvadi, 1. Raag Bilawal, 2. Raag Yaman, 3. Raag Khammaj, 4. Raag Kaafi, 5. Raag Aasavari, 6. Raag Bhairavi, 7. Raag Marva, 8. Raag Bahar, 9. Raag Kedara, 10. Raag Bhimpalasi, Gaten Raage, within Taal and matra 1. Gat Raag Bilawal, 2. Gat Raag Yaman, 3. Gat Raag Khammaj, 4. Gat Raag Kaafi, 5. Gat Raag Aasawari, 6. Raag Bhairavi, 7. Gat Raag Marva, 8. Gat Raag Bahar, 9. Gat Raag Kedara, 10. Gat Raag Bhimpalasi	39-48
Sixty Day	Practicing hit filmi-songs
	1. Mai ni mai munder pe tere	49
	2. Mai tujhko bhaga laya hun	51
	3. Didi tera dewar diwana	53
	4. Ai mere pyare watan	55
	5. Dil to pagal hai	57
	6. Sona kitna sona hai	59
	7. Sandese aate hain humen tadpate hain	61
	8. Babul ka ye ghar gori	65
	9. Roop suhana lagta hai	66
	10. Ye teri aankhen	68
	11. Bajigar o bajigar	69
	12. Hum tumse juda hoke	71
	13. Mehandi laga ke rakhna	73
	14. Ai mere watan ke logon	75
	15. Koyal kuke huk uthai	79
	16. Achha sila diya tune mere pyar ka	81
Seventh Day	Filmi, Non-filmi Songs-Gazal-Bhajan etc.
	17. Kaht ahai jokar sara jamana	82
	18. Mera piya ghar aaya	83
	19. Puchho jara puccho mujhe kya hua hai	85
	20. Rang bares bhige chunar wali	87
	21. Humko sirf tumse pyar hai	88
	22. Chand si mehbooba ho meri	90
	23. Tu chij badi hai mast mast	92
	24. choo lene do najuk honthon ko	94
	25. Ai meri johra jabin	95
	26. Ye mere prem patra padhkar	96
	27. Kis tarah jite hain	98
	28. Wo dur ke musafir	100
	29. Waqt se din aur raat	101
	30. Ye do diwane dil ke	103
	31. Ye do diwane dil ke	105
	32. Kitna pyara tujhe	106
	33. Bewafa yun tera muskurana	109
	34. Ishque mein kya batayen ke dono	111-112

Sample Pages

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