FREE SITAR LESSONS..

or.. A "Free up your mind and play" sitar lesson.

On Friday, October 1st of this year (1999) I purchased a used sitar from Joe Nathan's "Consignment Music" Store at the intersection of Park Ave. and Getwell in Memphis, TN. Up to that time I'd never played a sitar before, but I have played a bit of banjo in my time, and with that in mind (and with the help of the Internet), I discovered that the sitar is just a "drone" instrument.. as is the banjo. Oddly enough though, the sitar must be tuned to an "Open" tuning.. of YOUR OWN choosing. That may or may not be a good thing, at least in the beginning.. but that's the way it is.

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Traditional sitars are basically hollowed out pumpkins with a neck, and (usually.. but not always, depending on the "type" of sitar) a gourd at the top of the neck (for extra resonation) and up to 19 strings. It is made using a dried out pumpkin for the body, Tun or Sheasham wood for the neck, and a dried out gourd for the resonator at the top of the neck.

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SITAR.. a brief synopsis

The sitar is similar to the veena in several aspects although it is not as complicated to play. The sitar is called the Nibaddha Tamboora. It clearly shows a close connection between the sitar and the tamboora. The name originates from `Seh’ in Persian which means `Three’ and `tar’ which means `Strings’. So a lute having three strings is a sehtar – or sitar.

Great masters like Amir Khan, Sarkatullah Khan, Bahadur Khan and Gulam Raza raised the sitar to a very respectable status.

The various parts of a sitar are the tumba, which is a round or flat gourd; tabli, which is a piece of thin wood that covers the cut portion of tumba; gulu, which is the middle portion of the sitar called the shoulder; danda, which is the finger of the key board of the instrument on which there are a minimum of seventeen and a maximum of nineteen frets fitted with guts on it. These frets can be moved to the required scale. Such an arrangement of mobile frets is called chal thaat.

Keep in mind, I'm not an expert YET.. but here's some of what I've learned about tuning, sitting, holding, etc...

The Sitar is an ancient Indian instrument (the design is over 600 years old) and was popularized in the 60s & 70's by such acts as the Beatles, Steve Miller Band, the Boxtops, Rolling Stones and others.

Unlike much western music, the music of India has an intensely varying rhythm structure.  In western music you have 4/4 time and 3/4 time and the like, and generally that rhythm continues throughout the song.  In India, the rhythm is perpetual changing from 3 or four beats per measure to something like 64 beats per measure. 

Some well known Indian SITAR makers are: Hiren Roy, Hemen, Kanai Lal, Radha Krisna Sharma.  Prices may range from: $390.00 - $3,000.00 or more (less shipping). New sitars may come with a hard-shell case, a cloth cover, a spare set of strings, and 5 mizrabs (picks).  Sitar pickups are also available and may range from $75 - $300.

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WE will begin for simplicity's sake.. i.e., NO additions of #'s (sharps) or b's (flats) by tuning to an "Open C" chord tuning although "C#" and "D" tunings are also used.

Although there are many "TYPES" of tuning, WE will use the EXACT "way" RAVI SHANKAR tunes his sitar.. except that we will be one half step LOWER than his tuning. I first heard of Ravi Shankar through GEORGE HARRISON'S sitar contributions in the 60's while still a BEATLE.. ("Within You And Without You" from Sgt. Pepper's Lonely Hearts Club Band, "Norwegian Wood", etc.) and since I'm a BEATLES nut.. I figure George probably tuned the same way as Ravi.. so we will too!

Later on I will explain an EASY way to "transpose/tune" in "C#" and "D" using an electronic keyboard. (And in case you were wondering, the banjo is usually tuned to "Open G".)

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TUNING A SITAR

Initially (I've found) you should think of tuning the sitar in terms of "DO - RE - MI - FA - SOL - LA - TI - DO".. just a NATURAL Major scale. After you understand that simple principal you will understand it's tuning a bit better. I've divided the strings up into THREE sections which will make understanding SO MANY strings at once a breeze to do.

When you look at the strings (assuming that the tuning pegs are aiming towards your upper torso) the 1st string is the one closest to the ground. This is also the main MELODY sting. The LARGE pegs are numbered One through Seven, starting with the "center most peg" (i.e., next to the NUT.. although I've recently seen pictures of a sitar with peg numbers 1 & 2 on the OPPOSITE side of the neck from peg #'s 2, 3, 4, etc.) and proceeding Counter Clockwise. For the Ravi Shankar Style Stringing Diagram.. [CLICK HTERE] After the main melody string there are three additional melody strings. The lower two may in some instances may also be played to mimic bass guitar as well. When first learning you may want to think of the main melody string (peg #1) as the "HOT LEAD SOLOIST AREA" string and the remaining three stings (peg #'s 2, 3 & 4) as the "RHYTHM GUITARIST/BASSIST'S AREA" strings.

When you look at the strings (assuming that the tuning pegs are aiming towards your upper torso) the 1st string is the one closest to the ground. This is also the main MELODY sting. The LARGE pegs are numbered One through Seven, starting with the "center most peg" (i.e., next to the NUT.. although I've recently seen pictures of a sitar with peg numbers 1 & 2 on the OPPOSITE side of the neck from peg #'s 2, 3, 4, etc.) and proceeding Counter Clockwise. [Click here for peg and string chart] After the main melody string there are three additional melody strings. The lower two may in some instances may also be played to mimic bass guitar as well. When first learning you may want to think of the main melody string (peg #1) as the "HOT LEAD SOLOIST AREA" string and the remaining three stings (peg #'s 2, 3 & 4) as the "RHYTHM GUITARIST/BASSIST'S AREA" strings.

1. FRETTED MELODY STRINGS

• When you look at the strings (assuming that the tuning pegs are aiming towards your upper torso) the 1st string is the one closest to the ground. This is also the main MELODY sting. The LARGE pegs are numbered One through Seven, starting with the "center most peg" (i.e., next to the NUT.. although I've recently seen pictures of a sitar with peg numbers 1 & 2 on the OPPOSITE side of the neck from peg #'s 2, 3, 4, etc.) and proceeding Counter Clockwise. [Click here for peg and string chart] After the main melody string there are three additional melody strings. The lower two may in some instances may also be played to mimic bass guitar as well. When first learning you may want to think of the main melody string (peg #1) as the "HOT LEAD SOLOIST AREA" string and the remaining three stings (peg #'s 2, 3 & 4) as the "RHYTHM GUITARIST/BASSIST'S AREA" strings.

2. FRETTED DRONE STRINGS

• The remaining 3 "fretted" strings (the ones CLOSEST to your upper torso.. and the skinniest).. are drones and are not actually "fretted". (At least in all my studies I've found this to be true.. although the   "G" probably IS/COULD be played.. I simply don't have that much information yet.) Occasionally striking them or allowing them to remain silent is something YOU'LL have to decide as to when and how often they should be played. Drones are great for creating "rhythms" or simply holding the beat as other players solo when you jam with other players. Especially the "Octave C's" (known as chikari). Until I actually got a sitar.. I'd thought the "sound" these Octaves create was a TABLA.. or some other form of percussion instrument. Much to my joy, it was only the sitar's "Octave" drones!

3. SYMPATHETIC STRING

• Additionally, sitars have 13, 11 or 9 "sympathetic" strings which "ring" (as a guitar's open strings would do during feedback) UNDERNEATH the melody strings called tarab.. tuned to the notes of the raga. Since my instrument only has 11 sympathetics (for an overall total of 18 strings..) this will be the focal point for tuning on this lesson. ;-)

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Ok, let's get started..

TUNING UP

1. The First string (1st peg) is tuned (theoretically) to "FA". In this case we will tune our sting to an "F" note. The sound of the note in question should match the SAME note as 1st "F" below MIDDLE "C" on piano. An "F" note is the 4th tone in a "C" Major scale.
2. The Second string (2nd peg) is tuned to "DO". This is our "C Natural" located one OCTAVE below MIDDLE "C" on piano. A "C" note is the 1st tone in a "C" Major scale.
3. The Third string (3rd peg) is tuned to "SOL". This will be the note "G", located TWO OCTAVES below MIDDLE "C" on piano. A "G" note is the 5th tone in a "C" Major scale.
4. The Fourth string (4th peg) is tuned to "DO" again.. located TWO OCTAVES below MIDDLE "C" on piano. I've found that this string is also the most difficult to play in tune.
5. The Fifth string (5th peg) is tuned to "SOL" again.. located in the first OCTAVE below MIDDLE "C" and will be an octave UP from the 3rd peg "G" note.
6. The Sixth string (6th peg) is tuned to "DO" again.. located AT MIDDLE "C".
7. The Seventh string (7th peg) is also "DO" again.. located UP one OCTAVE above MIDDLE "C".

Obviously, if you were to tune UP to "C#" the "theory" for "C#" would need to be applied, i.e., all "G's" would be "G#", all "A's" would be "A#", etc., etc.

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NEXT are the sympathetic strings. This is EASY to understand.. but VERY hard to "single out" individual strings as they are so close together.

Basically the sympathetic strings will be the same SCALE as the KEY you are tuned to.. in this case a "C".. but the principle is the same. A "C" scale consists of "C - D - E - F - G - A - B - and C again. The sympathetic string are tuned EXACTLY that way.. EXCEPT that the "longest" string will begin on the 5th tone of its Major scale.

The tuning then will be:

1. 1st (small) peg.. the LONGEST string is tuned to the SAME "G" note as LARGE PEG #5.. i.e, ONE OCTAVE below MIDDLE "C". (Check out the peg and string chart again if this is NOT clear). Now it gets easy!!

2. 2nd (small) peg is tuned to "A" (next UP from the previous "G" note). This pattern continues UP the natural"C" major scale IN this octave for the remaining sympathetic strings.
3. 3rd peg will be "B"
4. 4th peg is "C" (Root note AND.. MIDDLE "C" on piano.
5. 5th peg is "D"
6. 6th peg is "E"
7. 7th peg is "F" (*This note may throw you.. see note below)
8. 8th peg is "G"
9. 9th peg is "A"
10. 10th peg is "B"
11. 11 peg (and the last peg on my sitar) is "C" again.. ONE OCTAVE above MIDDLE "C".

Just a "guess", but I'll bet the next two follow this same pattern.. 'ya think?

* If played correctly.. from LOW to HIGH, the sympathetic strings will start off sounding like a "G" Major scale INSTEAD of "C" until you reach its 7th tone, which is then "lowered" one half step. (This will produce what is known as a "G7" scale.. or a "G Dominant 7th" scale) . The reason this works out this way is because a "G Dominant 7th" scale (like "C" Major) ALSO HAS NO SHARPS OR FLATS !!

That's it for tuning..

WHAT ABOUT STRING SIZE (in case you break one or want to change the complete set) ?

Sitar Stringing Chart

Ravi Shankar Style (i.e., 7 melody strings)

1st peg.........ma....................#3steel
2nd peg........sa....#.016" ph. bronze
3rd peg.........pa....#.022" ph. bronze
4th peg..........sa....#.028" ph. bronze
5th peg..........pa..................# 1 steel
6th peg.........sa chic.............#0 steel
7th peg.........high sa chic.....#0 steel
Sympathetic strings..............#0 steel

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The REAL "fine tuning trick" is making sure that the MOVEABLE (yes, they ARE moveable) FRETS are where they are supposed to be. Fortunately, the "peg and string chart" also gives the PLACEMENT for the frets and the tones they should produce in their proper order as well.

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PROPER SITTING & HOLDING of a sitar

1. Place the "base" (the LARGE pumpkin gourd part) either ON the Left foot.. or IN the arch (of your Left foot) with the gourd resting on the floor, preferably on a mat or pillow, etc. (Left leg is underneath your Right leg as shown for this position).  This is known as the "half lotus" position. Notice that the sitar also rests ON the upper leg for stability.

2. Your Right thumb should rest ON the neck.. with a MIZRAB (a type of finger pick) on your Index AND Pinky fingers.  The Index finger primarily plays the "melody" while the Pinky "drones" the open strings.. i.e., PEG #'s 5 - 6 - 7 (or 4 - 5 - 6 - 7, etc.).  These two fingers may also play ON the same melody string(s) for SPEED as one finger may not be fast enough.  (As a guitarist/banjo player.. I must admit that I've also tried using a THUMB pick.. and yes, even regular "guitar picking" style.. just for variety.  I don't recommend this method.. although it DOES seem to me as if I'm actually playing faster this way.  But to be TRUE to the instrument I try to play in the correct traditional manner.)

3. Your Right arm should "anchor" the gourd snugly against your hip/leg area (as mentioned above).. while the arch of the foot "caresses" the base.. These combined "anchors" prevent the sitar from slipping.

4. The Left arm should be kept free to move about on the "frets" of the sitar for note selection (obviously).  If the Left arm is "supporting" the neck.. you're doing it WRONG!!

VARIATIONS

1. For variation.. and because of discomforts (at least in the beginning) while sitting.. you may also raise your Right knee UP at a slight angle so that the neck of the sitar rests ON the knee.  This will make the higher notes nearly inaccessible though.

2. For STANDING up playing.. Use a stool, chair, box.. whatever and place the gourd ON your Right leg while using as many of the "anchoring" technique as in sitting.  This way is probably the EASIEST to hold.. but makes the LOWER frets much farther away from your body and may be to difficult to reach for smaller players or very young students.

3. The SIDEWAYS position.  This a common way recommended for women since a half-lotus position is frowned upon in India as it shows off too much. It is similar to how women were taught to ride side-saddle on a horse. You simply sit with both your legs crossed over to one side and lean with your right hand over the main gourd.

4. The SQUATTING LAP position.  Instead of the half-lotus position squat with both legs crossed. Now place the sitar over your right lap and place your right hand over the gourd to stabilize it. The problem with this position is that the sitar fretboard becomes a bit too high. This is probably best for tall people.

There are many other ways to hold a sitar.. but this is supposed to be an "easy" lesson.. easy to understand.. that is.  It will probably HURT quite a bit to sit correctly in the beginning.. but to really "get it".. it must be done.  After you've mastered the instrument (say in about 20-30 years) you may add YOUR own variations as well.

Also, because sitars DO come in Left-handed models, all information will have to be reversed.

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ADDITIONAL TUNINGS

Now for the EASY way to tune your sitar to "C#" and "D".  This will sound like it's cheating.. but it's the absolute EASIEST way that I know of.

C#

1. Most electronic keyboards these days have a "transpose" key of some sort.  To tune UP to a "C#" (a half step UP from the Key of  "C".. and incidentally the key Ravi Shankar ordinarily tunes to.. at least on George Harrison's "Bangla Desh" CD/LP), adjust your transpose switch/key UP to the next "notch" or "number" (one half step) on your keyboard (if this is not clear or if you don't understand HOW to use the "transpose" feature, check the directions if you still have the manual).  This will now allow you to "select" the same WHITE notes (but now sounding HIGHER by one half step) used in the "peg and string chart" to tune without having to think in terms of BLACK keys as would be required using a piano or a keyboard that does not allow transposing.

2. Your "sympathetic" strings will have to be re-tuned as well.. just follow the same tuning procedure as mentioned earlier in the beginning of this study.  That's it!

ANOTHER ADDITIONAL TUNING

D

1. NEXT: To tune to "D".. follow the same procedure as above.. just UP two half steps from "C".   DON'T FORGET TO TUNE THE SYMPATHETIC STRINGS. See?  Easy!

AND FOR EVEN HIGHER TUNINGS

1. You may be able to tune even higher (as well as lower), but you'll have to "retune" ALL strings including the "sympathetic" strings for each new tuning.  Also bear in mind that the HIGHER you tune, the higher the risk of breaking your strings.. I know.. I've replaced 3 strings to date because of this!

A side note here: I would venture to "guess" that in most studio sessions the sitar would remain in it's OWN tuning and the studio engineer simply slows down or speeds up the recording to MATCH the exact pitch of the song that is going to include the sitar part.  At least hat's how I'd do it :-) I can't imagine George Harrison tuning up to "E" to play "Norwegian Wood" which is IN the key of "E".. but then again.. you just never know !!

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Ok, now what? Try to locate a Major scale among the THREE areas of "fret groupings" on your sitar. (You CAN see that there are 3 different areas.. CAN'T you? If NOT, look again at the "peg and string chart" and set up the FRET GROUPINGS to match the diagram.) Work with "solid" notes first. i.e., no "glissandos, bending, hammering, pull-off's, etc) to get a feel of where notes are found. You will notice that the sitar feels a LOT like playing BASS Guitar in that the frets are so large and so far apart.. at least in the lower register (of the THREE). When you've got the feel for that.. try "bending" strings for embellishment. To create an embellishment, the 1st wire on the sitar is so flexible that when the left hand pulls it across a fret, four or five half step notes (not counting "simi-tones") are heard.

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SOME HISTORY ABOUT SITAR..

Amir Khusru, a musician, poet and a statesman is credited with developing the sitar. Drawing on Persian musical elements, he derived the sitar from the Persian plucked lute and an Indian instrument called the veena. The sitar comes to us from North India and is probably the most popular of all the classical instruments of Hindustani music.

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The Maintenance of the sitar (This area is from the Silver Bush Music web site.)

1: The sitar should be kept in a case or under a cloth cover
2: The sitar strings should be changed regularly depending on how often they are used.
A sitar that is played daily should have all the strings changed every 3 months, and the main playing string, "ma" every month.
3: The finish should be rubbed down with a soft dry cloth after every playing to maintain the shine. The strings should be wiped of after every use. Do not use furniture polish on a sitar.
4: With use, the bridges become grooved under the strings. It is then time to have the bridges resurfaced, This is called Sitar Jawari. It should only be done by a professional. You can tell when the Jawari needs to be done, as the instrument will have lost its tone, and sounds more and more distorted and buzzy.
4: The gourds are very fragile and must be protected form any kind of knock.
5: The frets should be polished with #0000 steel wool every few months to keep them smooth and clean for meend (pulling the string to the side).
6: Sitar pegs can begin to slip after a year or so of use. When changing the strings it is a good idea to lightly chalk the pegs with carpenters or sidewalk chalk. Do not use blackboard chalk as it has wax in it to prevent squealing, and this wax will ruin the peg. If the pegs continue to slip, they will need to be filed to correct the taper and to remove any lip ridge. This should be done by a repair person. Peg service is part of the work done with a full Sitar Jawari.

Here's yet another pic of my NEW sitar..

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For a few samples of Ravi Shankar's mastery, click the following links. (All files are in ".au format".)

1. Duhn Kafi
2. Tilak Shyam
3. West Eats Meat

 

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At MARLOWE'S October 08, 1999.. one week after picking up a sitar for the first time. This was my debut performance on the instrument.

Mike Spacek (a former student and good friend) is on Guitar.

We performed "Norwegian Wood" (Beatles) twice.. (the 2nd time actually by request!) and played two tunes completley improvised. I got a cheap recording of it (off my trusty $20 Sony tape recorder).. and was pleasantly surprised.. NO "horrible & obvious" mess ups. Mike also played flawlessly.. which helped me a great deal!!

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