Kyle Music Blog

Sitar

John Kyle — Sat, 03 Nov 2007 11:08:14 +0000

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Description of the Sitar

The Sitar is the most popular of all North Indian instruments. It is classified as a chordophone in the lute family, and is related to the Veena and Zither. The larger pegs on the peg box are for the playing strings. The large pegs on the side of the neck are for the chikaries (drone strings). The smaller pegs, on the side of the neck, are for the sympathetic strings. The degree of decoration of these pegs is an indication of the class of instrument. The more decorated the pegs, the higher the quality of instrument.

The number of strings varies, with just fewer than 20 being most common. Three sets of strings run the length of the neck. Two sets run over the top of the movable arched metal frets to the end pegs and one set runs under the frets. The top sets are the main or playing strings and chikaries. The playing strings are fretted to produce melodies. A wire finger plectrum, called a mizrab, is used to pluck these strings. The chidaries are periodically struck to provide a drone or tonic base for the music. The sympathetic strings run under the frets to side mounted pegs. The sympathetic strings are almost never played. As the top strings are plucked the sympathetic strings gently vibrate. They add a soft resonating drone to the rhythms played. With all these strings it may be a surprise to know that only one to four strings are actually played to produce a melody.

The surface of the Sitar is highly decorated. There are numerous inlays and a good deal of carving. Sitars can be divided into two types, the single and the double toomba. The Double toomba has a second, smaller, carved gourd at the end of the neck. The single usually has fewer strings and only one gourd.

Our importer has two purchasing directors in India who contract for the generic Sitars. They do a very good job. All of the full-size Sitars are approximately 48 inches in length. They come with double toombas and cloth covered plywood cases, an inside cloth bag, mizrab picks, replacement strings, and the "Play on Sitar" instruction book. We also carry replacement bridges, beads, frets, strings, and mizrabs.

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Origin of the Sitar

There are a number of theories regarding the origin and history of the Sitar. Most disregard the historical record. Some suggest the Sitar is in the lute family and the veena is a stick zither. There are also differences in the basic construction and materials used. All these things suggest these two instruments developed independently. The Sitar is often attributed to Amir Khusru. The difficulty arises when you realize there were two famous individuals with the name Amir Khusru. One Amir Khusru who lived in the 1300’s and one who lived in the 1700’s. This alone can make it difficult to ascertain the development of the Sitar. Since the Persian- Islamic influence in Hindu music began with the Moghul Empire during the 1300’s some believe this earlier Amir Khusru was influential in both the development of the Hindustani Sangeet and the Sitar. (Hindustani Sangeet is the style of music that blends the traditional Hindu musical concepts and Persian performance practice.) During the time of Moghul rule Persian lutes were played at court, and may provide the basis of the Indo-Pakistan Sitar. However, there is no physical evidence for the Sitar until the time of the collapse of the Moghul Empire. So it can be assumed that this first Amir Khusru had no involvement in the invention of the Sitar.

The Sangeet Sudarshana attributes the Sitar to the second Amir Khusru during the 18th century. Those that attribute the Sitar to this Khusru believe he developed the Sitar from the Persian Sehtar. This Amir’s grandson, Masit Khan, was one of the most influential musicians in the development of this instrument. The Masitkhani Gat style of music with numerous slow gats in the dhrupad derives its name from Masit Khan.

From these theories and the historic record, we can conclude that the Sitar developed in the Indo-Pakistan subcontinent not at the beginning, but at the end of the Mogul era. It was likely influenced by or evolved from the Persian lutes played in the Mogul courts.

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Playing the Sitar

We offer a variety of intructional materials for the Sitar. Find one that you are comfortable with and then practice, practice, practice. Do not expect to pick up the Sitar and be playing Twinkle, Twinkle, Little Star in a matter of a few weeks. This is an instrument you invest yourself in. Be patient. Consider this a journey. You may be able to find a teacher in your area. Study, find other players, read, watch videos, and renew your library card. You will learn slowly, but the end result will be fabulous!

To begin playing Sitar, you must first master the seated position. Sit on the ground and cross your legs. Right handed players: Your left foot should stick out under your right thigh. Place your right ankle in front of your left knee. This position allows you to easily hold the Sitar. Rest the larger (resonator) toomba on the heel of your left foot. Your right arm rests on top of this toomba and helps to hold the instrument. The neck should cross your chest at an angle, from your right hip to left shoulder. If you have the correct position, your left heel and right forearm should hold the Sitar steady. The tips (not the pads) of the index and middle fingers of the left hand are used to note the strings. Do not press the string into the fret. The string is lightly pressed, just above the fret, and then pulled to the outside of the neck.

A wire plectrum, or mizrab, is worn on the index finger of the right hand to strum the strings. When the plectrum is worn correctly the pointed wire is positioned to run over the fingernail and under the pad of the finger. These picks come in various sizes. The pick should slide up and over the outside of the first joint of your index finger. This will secure the plectrum on the finger while playing. If you are a beginner, consider getting the plastic coated plectrum for added comfort. Try placing the point of the plectrum against a string. Flick your finger back and forth, hitting the string each time. This produces a fast tremolo effect.

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Tuning the Sitar

The graduated scale used in western music (Do, Re, Mi, Fa) is not used in Indian music. Rather, Indian music is based on a tonic with arbitrary pitch. The tuning of the Sitar will even vary from Raga to Raga.

Here is one suggestion for tuning. There are a number of alternatives.

Always start with the second string and end with the first string. As you tune, repeatedly strike the string until the desired pitch is reached. Also, remember that the tuning pegs of the Sitar are tapered and held in by friction. As you tune apply a small amount of pressure to the pegs to keep them secured.

The player may wish to alter the notes of the strings, higher or lower, by a half step. As you become more accustomed to your instrument, you may wish to alter the pitch by changing the size of the string. Once you find a tonic scale that suits you and your instrument, altering the pitch no longer becomes necessary.

When tuning the Sitar, begin with the main strings. Start with the second string and continue to the chikaris (drones). The sympathetic strings are tuned depending on which raga you will be playing and on your own preference. Beginners my wish to tune the sympathetic strings to the western tonic scale.

6 main strings:

Begin with the #2 main string, continue to the chikaris. End with the #1 string.

String:	1	2	3	4	5	6
Staff:	F	C	G	C	C	C
Notation:	1 octave below Middle C	1 octave below Middle C	2 octaves below Middle C	2 octaves below Middle C	Middle C	1 octave above Middle C

7 main strings:

Begin with the #2 main string, continue to the chikaris. End with the #1 string.

String:	1	2	3	4	5	6	7
Staff:	F	C	C	G	G	C	C
Notation:	1 octave below Middle C	1 octave below Middle C	1 octave below Middle C	2 octaves below Middle C	1 octave below Middle C	Middle C	1 octave above Middle C

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About Kyle Music Blog

John Kyle — Sat, 28 Jul 2007 02:48:21 +0000

This blog is all about world instruments, from bagpipes to sitars. At Kyle Music, we have a great selection of musical instruments imported from all over the world for sale.

If you have any questions or information to share about world instruments, we welcome your comments.

Thanks for stopping by!

John Kyle

Kyle Music

Cumbus

John Kyle — Tue, 13 Jun 2006 09:31:15 +0000

Cumbus Origins

The Cumbus is a relatively young instrument. It was developed in Istanbul in the early 1900’s. The inventor, Zeynel, was born in Salonika, now known as Thessaloníki, Greece. He eventually settled in Beyazit, Istanbul, opened a music shop, and became known as Zeynel Abidin Bey. He was also known as a local Oud performer. Eventually he began to design new instruments. It was on January 24th 1930 that Zeynel’s instrument received its name from a fellow native of Thessalonica, the famous Ataturk Mustafa Kemal. Ataturk began his service to Turkey as a soldier. Later as a national leader he founded the republic of Turkey, and became Turkey’s first president. Drawing on the sound of the instrument for inspiration, Ataturk dubbed it ‘Cumbus’. Pronounced “joombush”, “Cumbus” is Turkish for ‘revelry’. Soon Zeynel was manufacturing and selling his Cumbus. In 1934 the Surname Act was passed, requiring all Turkish citizens to take a family name. Zeynel Abidin Bey now became Zeynel Abidin Cumbus. About 30 years ago, the Cumbus stepped off the classical stage. Today, it is still played by the people out of the cities, especially at weddings, and special ceremonies.

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Description Of Cumbus

Originally this Turkish chordophone had a leather soundboard, much like an American Banjo. The narrow fretless neck was designed to easily disassemble from the aluminum body by loosening a large screw mechanism. It has been said that the body looks like a kitchen frying pan; the back and sides are solid. There are vent holes on the top surface around the soundboard. Today the Cumbus have Mylar soundboards held in place by a bolted tension ring. For its light weight, the Cumbus is very sturdy and remarkably loud.

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Our Cumbus

Kyle Music carries four styles of Cumbus. They are from the Cumbus family shop on Ataturk Bulvar in Istanbul. This is the Family shop of Zeynel Abidin Cumbus, the inventor of the Cumbus. Kyle Music carries the Standard Cumbus, Cura Cumbus, Tambor Cumbus, and the Banjo Cumbus. They all have the traditional spun aluminum body and detachable neck. The soundboards are sturdy Mylar and they come in a soft carrying case.

The Standard Cumbus is approximately 34 inches long. It is the most traditional in design, with no frets on the neck. There are six courses of 2 strings each.
The Cura Cumbus is approximately 29 inches long. It has nylon frets tied to the neck and 3 courses of 2 strings each.
The Tambor Cumbus is approximately 51 inches long. It has nylon frets tied to the neck and 3 courses of 2 strings each.
The Banjo Cumbus is approximately 23 inches long. It has nylon frets tied to the neck and 4 courses of the 2 strings each.

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Care & Tuning Instructions for the Cumbus

As with all maniacal instruments common sense will go a long way in protecting its longevity. Do not store it in direct sunlight, or places with drafts. Avoid sudden changes in humidity and temperature. If you must ship your instruments remove some tension for the strings. With these Cumbus, do not use abrasives on the metal body. Be especially careful to keep sharp objects way from the soundboard.
The Standard Cumbus is tuned like the Turkish Oud and one step higher than the Arabic Oud. Almost any Oud tuning can be used. The two strings that make up a course are tuned to the same key. From low to high you can tune
Standard A B E a d g; or D E A D G C;
Egyptian/Arab: D G A D G C;
New Turkish Classical: F# B E A D G;
Turkish/Armenian: E A B E A D;
Turkish/Armenian Variant: C# F# B E A D;
Old Turkish Classical: A D E A D G.
The Tambor Cumbus has 6 strings in 3 courses; tuned D A d.
The Cura Cumbus can be tuned like a banjo or mandolin.

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Frequently Asked Questions

Is the bridge of the cumbus fixed or is it movable?

Is the bridge of the cumbus fixed or is it movable?

The bridge is movable.

Kyle Music Blog

Sitar

Description of the Sitar

Origin of the Sitar

Playing the Sitar

Tuning the Sitar

6 main strings:

7 main strings:

About Kyle Music Blog

Cumbus

Cumbus Origins

Description Of Cumbus

Our Cumbus

Care & Tuning Instructions for the Cumbus

Frequently Asked Questions

Is the bridge of the cumbus fixed or is it movable?

Didgeridoo, Didjeridu, Didjeridoo

Origins of the Didgeridoo

Kyle Music Didgeridoo

Playing the Didgeridoo

What determines the key of a didgeridoo?

Bodhran

Description of the Bodhran

Playing the Bodhran

Our Bodhrans

Bodhran Accessories

Care and Reheading of Bodhrans

Balalaika

Origin of the Balalaika

Description of the Balalaika

Our Balalaika

Tuning the Balalaika

Playing the Balalaika

Ashiko

Bagpipes

Description of the Bagpipes

Origin of the Bagpipes

Our Bagpipes

Learning To Play the Bagpipes

Frequently Asked Questions

Why does the practice chanter make only one note?

Are the bagpipes tuned to low A or B flat?

What key is the practice chanter in?

What are the reeds made of?

Do the smallpipes require as much air and pressure as the full-size pipes?

Are reeds and replacement parts available for the smallpipes?

What is included with a set of bagpipes?

How are the hemp, corks, and seasoning used?

Why is the blackwood bagpipe so expensive?

Your site says the Medieval Small Pipes (BGSP) are in the key of D. Does this mean that they are played the same way as a tin whistle in D?

Doumbek

How do I know which type of drumhead is best for me?

What can I do if my natural skin drum head is affected by heat and humidity?

What type of fish is the fishskin head made of?

Can I rehead my own drum?

What is the difference in sound between a doumbek and a zarb?

What is a “doum” and what is a “tec”?

What is the difference between the wide neck doumbek versus the narrow neck?

Oud

Origin of the Oud

Description of the Oud

Our Oud

Tuning the Oud

Playing the Oud