Sarangi: From Elegy to Elation

By Rajiv Trivedi

Sings of hundred shades, hence Sarangi. Be it the Rasa of allure or sorrow, the Sarangi expresses them all with accuracy. It was this quality that drew Moinuddin Khan to the instrument from childhood.
He so enjoyed playing Sarangi that he turned it into a source of livelihood, working as a Sarangi-player on All India Radio.
He discusses the specialty of his instrument and its playing technique with Dr. Ragini Trivedi.

MOINUDDIN

I started Sarangi from age of twelve. Those days for purpose of learning we used small-sized Sarangi. No Tarab strings only three cords, so that it won’t make learning tedious. Father would teach us Palta-s, Sargam etc. So that the hand gets set within a year and half. Once the hand gained stability he taught us tan-s and Palta-s to rehearse. We kept doing riyaz for about four five years in this manner. All this on the small Sarangi.
Once I began paying a bit, my father gave me the full-sized instrument. He told me that half the playing was tuning of the instrument. All strings of Sarangi should always be in tune. An artiste who can’t tune, is half-baked, incomplete!

DR.TRIVEDI

To learn Sarangi, what things are important?

MOINUDDIN

Most important is the bow; the manner of its holding, its placement. Next the finger – which finger for which note! If a finger that plays Re is used for Ga then it will be wrong. It will ruin the hand forever. System for bow is that it should be moved slow.

DR.TRIVEDI

How many fingers should be used

MOINUDDIN

Earlier they used four fingers. But many play with three fingers. It all depends on training. Sarangi had four strings in beginning; now it has only three.

DR.TRIVEDI

Fourth was for Shadja or Kharaj?

MOINUDDIN

Yes. It had strings for Kharaj & Laraj. My grand-father and uncle, used to play with four but my father discarded one string. So, now I play only on three strings.

DR.TRIVEDI

Do players use the fourth string these days?

MOINUDDIN

No. Fourth string is no longer used.

Narration

Though it has been mentioned still earlier, yet an artiste of Moradabad during nineteenth century, Maulabaksh has been recognized as the leading player of Sarangi. His son Haji Mohammed Khan, grandson Chhajju Khan, Raja Hussain and Yusuf khan too were competent Sarangi-players. In more recent times, Gopal Mishra of Varanasi, Pt. Ramnarayan of Udaipur and Bundu Khan of Indore are counted as prominent artistes of Sarangi.

DR.TRIVEDI

Would you tell us about Bundu Khan? He started playing Solo?

MOINUDDIN

Yes. In Agra there was Badar Khan Saheb. Had a saintly temperament; wouldn’t go anywhere. Stayed in Agra all the time. He played wonderfully well. After him Bundu Khan displayed such mastery. I was fortunate to see him. His Sarangi was made of Bamboo and small in size. It had only 9 Tarab strings and steel strings were used instead of regular ones. He only liked to play solo. He was with Maharaja Tukoji Rao Pawar. Stayed here for long – for forty years. Bundu Khan Saheb! Very learned person!

Narration

Having been an instrument for accompaniment, Sarangi is largely played in the Vocal tradition or Gayaki Ang. A separate Gat Ang as followed in Sitar could never evolve for Sarangi. Yet during Dhrupad singing, Been Ang accompaniment is attempted. Hence Sarangi player should be adept in vocal music

MOINUDDIN

Take Raga Malkauns. So, we have to do Riyaz of Malkauns. The vocalist also does riyaz of Malkauns. We have to learn compositions, Khyal, like the singer. Well, not all can be memorized, but still the training is from Khyal Ang and the player is set for accompaniment.

DR.TRIVEDI

Well, there are different schools and traditions in singing. The same Raga is sung differently.  So, probably, it hinges on the experience that a Sarangi player can accompany them all, regardless of their Gharana?

MOINUDDIN

Well the way is – say a Bandish in Miya Malhar Karim Nam Tero! We remember this, the singer remembers same. Like there are different patterns in singing, there are varied patterns in Sarangi, too. Now, we work like a photographer! So like an honest picture, we photograph him – as is his singing, so is our playing. We try to bring out same and indeed we often succeed.

DR.TRIVEDI

So, the instrumentalists need to be trained in Vocal music?

MOINUDDIN

Most certainly. Only when we know singer’s composition, we would be able to bring out same with fingers. If we don’t remember, how can we express it? It is essential to learn them by heart.

DR.TRIVEDI

Would you please illustrate this?

MOINUDDIN

Sure, it is  thumri in Tilang

MOINUDDIN

Now when we remember it, we can play composition better.

----------------  Demo  Recital on Sarangi ---------------------

DR.TRIVEDI

What sort of playing is from Gat Ang? Is it influenced by Been?

MOINUDDIN

You may say so. Well, Sarangi is said to sing. So it is oriented towards singing. The Gat Ang is not in vogue… although people do play; even I play Gat Ang.. but such playing lacks appeal.

DR.TRIVEDI

With Dhrupad only playing with Gat Ang can match… And you have played that way?

MOINUDDIN

Yes. Pretty much.. there is Kaseed and all .. used.

Narration

Sarangi is considered to have evolved from Ravanastra or Ravan-hast which find mention, first in Bharat-Bhashya of Nanyadev, and then in fifteenth century text, Sangeet-raj. Several folk-variants of Sarangi abound – like Ravanhattha, Chikara, Jogiya Sarangi, Gujratan Sarangi, Dhani Sarangi, Sindhi sarangi, Kamayncha, Surinda and more.

DR.TRIVEDI

Khan Saheb, please tell us about your instrument. What kind of wood is used in its construction?

MOINUDDIN

Sure. Let me show you. There is Tun. This wood comes from Kashmir or Meerut region. But difficult to find this wood. Once you get it, the block is cut according to measure. It is then buried for seasoning. After a year, if the measure is found to hold correct, then carving process is started. The various cuts in body constitute its parts – the chest, head and bridge, the keys. The tarab strings are tied underneath the main strings.

DR.TRIVEDI

Can such wood as Banas and Sal be used here like in folk instruments such as Ravanhattha?

MOINUDDIN

No. They are suitable for light instruments. Heavy wood like Tun alone is suitable for Sarangi. Only that brings out appealing tone.
There are fifteen keys; nine strings here, four here and two on the side. You remember there were four strings earlier? We have fixed a Tarab string in its place.

DR.TRIVEDI

How do you tune these keys – ones on the upper level?

MOINUDDIN

They are tuned as per Raga. And these are for Achal Thaat. Under the fixed Thaat, both Rishabh, both Gandhar, both Madhyam, the Pancham, both Dhaivat, Nishad and then Shadaj. So it may be tuned in two Sur-s. By chance, we accompany a singer without getting a chance to tune then this Tarab set provides support. Because in this set all variants of notes are present. Komal, Teevra and all.

DR.TRIVEDI

The bridge here, is different from most other instruments?

MOINUDDIN

This is main bridge and then here are two small ones called Chouki. And this one is for strings here.

DR.TRIVEDI

For improving sound, is Jawari done?

MOINUDDIN

Yes. The Jawari work is done. And then the Tarang strings are attached for greater vibration. So that when we apply Re or Gandhar, a resonance is created.

DR.TRIVEDI

The strings used here – the upper one seems to be of gut… made from goat?

MOINUDDIN

Yes they are from intestine of goat.

DR.TRIVEDI

Can other types -- like metallic strings -- be used?

MOINUDDIN

No, not yet. But there plastic strings available today. Earlier, the steel strings were used for Chikari. With time Sarangi  was embellished.  

DR.TRIVEDI

The gut strings are used because no other strings can produce such resonance? They are used for the resonance? Moonj and Durva too were used initially.

MOINUDDIN

True. No other material gives such resonance.

DR.TRIVEDI

When you use the bow – what specialty is there?

MOINUDDIN

The wood used in the bow is of Sheesham, Indian Rosewood. Originally, horse-hair was used for string. Now nylon is used. Rosin is applied to strings. Rosin application increases sound. It is a requisite. With Rosin the strings sound good.

Narration

While all Gaj-instruments are played with bow, the employment of bow in Sarangi holds a special significance.

MOINUDDIN

There are several ways. Say, Sa Re Ga Ma Pa Dha Ni Sa. They should all come in a single bow. And Sa Ni Dha Pa Ma Ge Re Sa should sound in the second bow. So, Sa Re Ga Ma Pa Dha Ni Sa in first bow, Sa Re Ga Ma Pa Dha Ni Sa in second and Sa Re Ga Ma Pa Dha Ni Sa in third.

DR.TRIVEDI

Would you please demonstrate this?

MOINUDDIN

This was one bow. Now I shall take pieces.
Get that?
With greater Tan work, readiness is needed. Elders held, it should all be done in a single bow. But we have distributed that in two, three bows.

DR.TRIVEDI

So for playing in Drut, what exercise is required?

MOINUDDIN

------------ Playing Sarangi ------------
Just change pattern here.
So, this is how.

DR.TRIVEDI

The Meend work During Alap – How should one master that?

MOINUDDIN

That involves work of Hand

DR.TRIVEDI

Change in volume – is that controlled by bow?

MOINUDDIN

Yes. With bow… See this..
It comes from bow!

DR.TRIVEDI

How long should we maintain exercise?

MOINUDDIN

This instrument… if we leave it for two days, it will leave us for ten days!

Narration

Of myths associated with Sarangi, the leading one brands it as instrument of elegy. But such artistes as Pandit Ramnarayan, Padmashri Ustad Abdul Latif Khan and Ustad Moinuddin Khan have established that Sarangi is as much an instrument of mirth, joy and elation, as it is of sorrow.