I have heard a recording of Raga Deepak from Shujaat Khan. In this raga he has tuned his 4th string (the one that is normally tuned to Ga or komal Ga) of his VK sitar in komal Re (the root is Sa). This gives a very 'mysterious' drone when he hits the chickaris. This sounds very nice and strange at the same time.
I have heard something similar on a Shahid Parved recording.
My question is: is this common?
I ask this because I am still in doubt of using either this high string or using the low Sa (RS style). I like this mysterious drone but I also like the low notes.
This way of tuning is common and it is the reason why this forth steel drone string was added. If you use it together with a deep P as third string you have a compromise between the deep and the real . . .:-) But if you want the real deepness, look for a Surbahar.
Jay, this is the 5 string version. With 6 strings, there is another string with the same diameter as the P between that one and the joda S, and it is tuned to M or other important note of the raag; so this one and the P are variable (ex. Malkosh wants both of em as M). More strings, more complications:-).
barend (Mar 26, 2004 06:23 a.m.):
I have heard a recording of Raga Deepak from Shujaat Khan. In this raga he has tuned his 4th string (the one that is normally tuned to Ga or komal Ga) of his VK sitar in komal Re (the root is Sa). This gives a very 'mysterious' drone when he hits the chickaris. This sounds very nice and strange at the same time.
I have heard something similar on a Shahid Parvez recording.
My question is: is this common?
I ask this because I am still in doubt of using either this high string or using the low Sa (RS style). I like this mysterious drone but I also like the low notes.
Jaym, the recordings of Shahid Parvez I am talking about are: Raga Gurjari Todi (from: excellent sound of sitar), here he has tuned his 5th string (normally pa or ma) to Dha.
And Raga Puriya (from enchanting sitar), here he has tuned his 5th string to Komal Dha.
It's not quite the same as Raga Deepak from Shujaat Khan, but it gives the same 'strange' touch to the raga. Although I think tuning to Dha or komal Dha is more common in certain ragas
Barend, Gujri Tori is another example for flexible tuning: the rag has no P, but d and g as important notes; so forth and fifth string should be g and d . . that sounds richer and less "dissonant" than a P in the drone - despite the fact that P is prominent in the overtones and jawari anyway . . . .
You should check out this raga Deepak, it is really beautiful. Shujaat Khan's playing style (especially in the Jor and Jhala part) is very original and new to me.
On april 24th I will go to a concert of him in Amsterdam. I am ver curious!
