Evolution of Sitar
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This blog is dedicated to informing and entertaining people on the Hindustani Classical instrument, Sitar. Our posts aim to inform our audiences on the history of this magnificent instrument and the many legends who transcended and developed its' musical modifications over the decades. This is for musical enthusiasts or any individual looking to kickstart their background understanding of Sitar.
Sitarist Legends & Musical Modifications
The late 20th Century is perhaps the most significant time when we talk about the evolution of Sitar music, for it bestowed upon us some brilliant artists who profoundly impacted the many developments in this Indian Musical Tradition.
Each Sitarist contributed towards the musical tradition in their own unique ways and techniques. This includes the likes of the pioneer Ustaad Vilayat Khan and Ustad Imdad Khan who introduced new dimensions to the music, amongst many others like Ustaad Mustaq Ali Khan and the iconic Ravi Shankar who transcended recognition of this Classical Hindustani instrument, into the globalized stage.
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The Riaz is the hallmark of Ustaad Imdad khan, for he was known for his intricate Bol’s , use of the Jhala and ability to deliver with immense speed on the Mizrab. Ustaad Imdad Khan was particularly renowned for his strong right-handed ability to practice on the Sitar. Then we have the very versatile Ustaad Wahid Khan, who was the brother of the great Ustaad Enayat Khan, also remembered for his technique of Surbahar.
What can be noticed across the lineage of these various Gharanas and brilliant Sitarists, is how one artists inspires and learns from the other, further carrying the legacies and teaching forward. For example, Ustad Vilayat Khan learned much from Ustaad Enayat Khan’s style, which was reflected, in his musical practice. Ustaad Vilayat Khan began his musical career as early as the age of 8 years old, he even performed with his father at the Allahabad music festival which only goes to illustrate how brilliant he was at such a humble age.
Some evolutionary stylistic contributions by Ustad Vilayat Khan, is the introduction of the Gayaki Ang. A Gayaki is issentially the vocal pattern in a Khayal. The Gayaki Ang gave Sitar playing an added depth to the Khayal, and what is different about this is how when plucking the Sitar string, Ustad Vilayat Khan introduced the left hand technique, which allowed the continuity of a Sur (note) to extend in duration as opposed to the regular sound it would make.
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This beautiful asset to the craft, is what projected the lyrical like flow to his Sitar music drawn parallel to the sound of vocal music. Along this he would also create Murkhis by voice while playing. The Gayaki ang is hence undoubtedly his most important contribution to the stylistic evolution of the Sitar.
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Another contribution by Ustad Vilayat Khan, is the evolution of the physical nature of the Sitar from an originally seven string to a six string Sitar while the shape of the Frets was also redesigned into a thicker model to allow the more prominent and stronger execution of a meendh. It is because of these multiple intricate detailed changes, that have long lasting effects carried on decades later that makes Ustaad Vilayat such an integral figure in the stylistic changes of the Sitar music tradition.
When we talk about Ravi Shankar, who is perhaps more recognised when we talk about Sitar globally, is his craft put the Classical instrument on the world stage by going on tour in Europe and America, where his performances attracted tumulus crowds intrigued by an instrument they were not familiar with, allowing his fusion of 'East Meets West'.This exploded particularly in the late 60's and 70's where music as a means of political expression and resistance against the establishment was gaining momentum. Shankar quickly grew very popular amongst western pop music culture, particularly by the likes of the famous George Harrison from the Beatles who were influenced by him. He even went on and performed at the world famous WoodStock festival during the late 70's. Ravi Shankar was the disciple of the great Allahuddin Khan who is remembered for his concoction of mixed genres with the sitar and his deliberate non specialisation for he would mix melodic styles and compositions in variety. This was often criticised by the contemporary musicians.
Although there are many contributions by Sitar instrumentalists to its' late 20th century musical tradition, the overwhelming impact between the differing styles of both the Gharana's of Ustad Allahuddin Khan and Inayat Khan, cannot be denied for they have continued their legacy through their generational disciples since the 60's.
History & Origins
The first mention of the Sitar, does not appear until late stages of the Mughal Empire, around 1748 under Emperor Muhammad Shah. Historically speaking, it is believed that the invention of the classical instrument is attributed to the famous Delhi court poet and musician , Amir Khusru in the 14th Century. It was his grandson Masit Khan who further aided in the development of the Sitar and pioneered the composition of what is today known as the MasitKhani Gat for it is characterised by its slow Gats and Dhrupad style.
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What is particularly political about the invention of the Sitar, is that during the time of political resistance and upheaval during the Mughal era, the two most distinguished musical developments was the introduction of the Sitar and the Khayal. This happened when Emperor Muhammad Shah supported many musicians in his court given his fondness and taste for music and dance. It is from the nobility courts to entertain vast aristocratic audiences, that the instrument began its claim to fame and was popularised. This was considered a very crucial moment for it triggered a very important development in Hindustani Classical Musical tradition.
The earliest musical composition of the Sitar, is attributed to the composition called 'Firozkhani Gat'. This was characterised by its medium pace and jumpy melodic style.
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It was when the Mughal empire collapsed, that many artists were splintered across the nation as the Mughal courts could no longer support them. This splintering to different locations is where the various developments and changes in the musical styles diversified and different types of Gharana's developed. Some artists moved to Lucknow some to Rajput.
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​Currently, there are three variations of the Sitar: The Kharaj Pancham, which is seven strings and two base strings; the Ghandar Pancham, which consists of only six strings; lastly the Ravi Shankar style which consists of six primary strings, two base strings and four octaves and is more popularised and commonly used today.
Musical Influence on Pop, Rock and Jazz
It was not until the Beatles catapulted North Indian music tradition into the mainstream after their interaction with Ravi Shankar, that Indian classical music made its’ debut in public awareness which consequently triggered an avalanche of experiments with pop and rock music. Shankar and George Harrison of the Beatles even engaged in Sitar lessons together, musical elements of which were quite evident in his song of ‘Love You Too’, an almost Indian-flavoured pop composition. Musical is constantly evolving and developing when artists take inspiration and influence from one another, here lets take an insight into how polar opposite genres like Jazz and Indian Classical music cross over. Displayed on the right, is a video of an Ensemble by the name of ‘Sachal’ which is a Pakistani group of Classical instrumentalists who collaborate with a famous Jazz band for a beautiful performance, which can be considered a metaphor for fusion music reminding the world how we connect across borders through the language of music and preserving the histories of these dying traditions.
Parallels can be drawn between the musical textures of Rock and Indian Classical music in terms of its’ functioning layers for example the melodies, drones, use of percussions are all elements of western pop and rock music too. The features of Indian Classical music that are noted to appear the most in western pop are as follows: drones on ‘Tambura’; relatively partial use of the sound of Tarab on Sitar, as the Sitar is also utilized as the idealistic acoustic/electric guitar of sorts with its’ ability to bend and elongate notes like in a ‘Meendh’; The use of additive as opposed to divisive rhythmic ideas like the ‘Tal’; melodies based on modes which are congruent to the Indian ‘That’ rather than changes in the chords; Lastly a question – answer sequence and unison passages between different instruments. Another Beatles masterpiece album which takes influence from Indian classical music tradition, is the 1967 album ‘Sergeant Pepper’s Lonely Hearts Club Band’ with the number ‘Within You, Without You’ which has strong evidence of Sitar, Tabla and Tambura musical textures woven together.
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Ravi Shankar would experiment and record sessions with Jazz musicians, who were particularly fascinated by the improvisations in the Sitar tradition, with his influence on Jazz artists stretching as far as Eric Dolphy, John Coltrane, Don Ellis, Yousef Lateef and even Miles Davis. John Mayer has also practiced Indian-Jazz fusions, whereby Jazz instruments would be contrasted with ‘Raags’ and ‘Tals’. Mayer’s fusion album is inclusive of the Saxophone, Sitar, Tabla, Tambura , bass and trumpet amongst others playing synchronously in the ‘Jhaptal’ (10 beats) and ‘Kherva’ (8 beats) Tals.