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How to Play Sitar
How to Play Sitar
Description

Introduction to musical notes>

In Indian Classical Music Naad produces Shruti, which in turn produces musical notes (Swars). Naads are of two types.

1. Anahat Naad :- Naad produced without making any sound is called Anahat Naad. When you close your ears with your fingers. 'Ghan Ghan' sound is produced. Since it is produced without any stroke, it is called Anahat Naad.

2. Ashat Naad :- The sound that is produced by stroke, touch, friction, is called Aahat Naad. Music relates to this Naad and Musical Notes are produced from this Naad.

Difference between Swar and Shruti

Shruti means what you can only hear. The sound or Dhwani which you can hear is Shruti. Shruti when shown only by mingling of two notes in music and by touching is called Shruti; when there is pause in Shruti, and its sound is heard in steady manner, it is called 'Swar'.

Indian Music is based on 22 'Shrutis'. 'Swaras' are born from these 'Shrutis'. There are seven Swaras in Music- Sa, Re, Ga, Ma, Pa, Dha, Ni

Swaras are of two types-

(i) Komal Swaras - Komal Swaras are the ones which are higher or lower than the normal Swaras. These are also called 'Vikrit' notes.

(ii) Tivra (Pure) notes - Tivra means sharp. These notes are pure notes. But 'Ma' Swara is the only Komal Swara, which is called Pure. Tivra 'Ma' is Vikrit (Impure).

Except 'Sa' and 'Pa', all Swaras are Komal and Tivra. Sa and Pa are not Komal. These Swaras are stagnant; meaning thereby that sound doesn't to high or low. They are firm in their place.

 

Contents
First Day Introduction to musical notes:1. Komal Swaras, 2. Tivra Swara, Saptak:-1. Mandra saptak, 2. Madhya Saptak, Taar Saptak, Introduction to sings in Music-notations. 5-7
  Western Notation 8-11
Second Day Holding the Sitar,method of wearing (Mijraab). Pictoral representation of keeping fingers, sitting position of men and women while playing sitar, Bols of Sitar, Tuning the Sitar. 12-16
Third Day Method of playing Sitar. Various Swaras are produced by pressing the wire on the different portion of screen, meaning coordinating wires with Swaras, Sargams of pure notes which includes Aarohi and Avrohi for practicing. 17-26
Fourth Day Introducing:-1. Thaat Bilawal, 2. Thaat Kalyan, 3. Thaat Khammaj, 4. Thaat Bhairav, 5.. Thaat Purvi, 6. Thaat Marva, 7. Thaat Kaafi, 8. Thaat Aasavari, 9. Thaat Bhairavi, 10. Thaat Todi. 27-38
Fifth Day Introducing Raags-Jaati of Raags, Vadi Samvadi, 1. Raag Bilawal, 2. Raag Yaman, 3. Raag Khammaj, 4. Raag Kaafi, 5. Raag Aasavari, 6. Raag Bhairavi, 7. Raag Marva, 8. Raag Bahar, 9. Raag Kedara, 10. Raag Bhimpalasi, Gaten Raage, within Taal and matra 1. Gat Raag Bilawal, 2. Gat Raag Yaman, 3. Gat Raag Khammaj, 4. Gat Raag Kaafi, 5. Gat Raag Aasawari, 6. Raag Bhairavi, 7. Gat Raag Marva, 8. Gat Raag Bahar, 9. Gat Raag Kedara, 10. Gat Raag Bhimpalasi 39-48
Sixty Day Practicing hit filmi-songs  
  1. Mai ni mai munder pe tere 49
  2. Mai tujhko bhaga laya hun 51
  3. Didi tera dewar diwana 53
  4. Ai mere pyare watan 55
  5. Dil to pagal hai 57
  6. Sona kitna sona hai 59
  7. Sandese aate hain humen tadpate hain 61
  8. Babul ka ye ghar gori 65
  9. Roop suhana lagta hai 66
  10. Ye teri aankhen 68
  11. Bajigar o bajigar 69
  12. Hum tumse juda hoke 71
  13. Mehandi laga ke rakhna 73
  14. Ai mere watan ke logon 75
  15. Koyal kuke huk uthai 79
  16. Achha sila diya tune mere pyar ka 81
Seventh Day Filmi, Non-filmi Songs-Gazal-Bhajan etc.  
  17. Kaht ahai jokar sara jamana 82
  18. Mera piya ghar aaya 83
  19. Puchho jara puccho mujhe kya hua hai 85
  20. Rang bares bhige chunar wali 87
  21. Humko sirf tumse pyar hai 88
  22. Chand si mehbooba ho meri 90
  23. Tu chij badi hai mast mast 92
  24. choo lene do najuk honthon ko 94
  25. Ai meri johra jabin 95
  26. Ye mere prem patra padhkar 96
  27. Kis tarah jite hain 98
  28. Wo dur ke musafir 100
  29. Waqt se din aur raat 101
  30. Ye do diwane dil ke 103
  31. Ye do diwane dil ke 105
  32. Kitna pyara tujhe 106
  33. Bewafa yun tera muskurana 109
  34. Ishque mein kya batayen ke dono 111-112

Sample Pages









How to Play Sitar

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8176810193
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Introduction to musical notes>

In Indian Classical Music Naad produces Shruti, which in turn produces musical notes (Swars). Naads are of two types.

1. Anahat Naad :- Naad produced without making any sound is called Anahat Naad. When you close your ears with your fingers. 'Ghan Ghan' sound is produced. Since it is produced without any stroke, it is called Anahat Naad.

2. Ashat Naad :- The sound that is produced by stroke, touch, friction, is called Aahat Naad. Music relates to this Naad and Musical Notes are produced from this Naad.

Difference between Swar and Shruti

Shruti means what you can only hear. The sound or Dhwani which you can hear is Shruti. Shruti when shown only by mingling of two notes in music and by touching is called Shruti; when there is pause in Shruti, and its sound is heard in steady manner, it is called 'Swar'.

Indian Music is based on 22 'Shrutis'. 'Swaras' are born from these 'Shrutis'. There are seven Swaras in Music- Sa, Re, Ga, Ma, Pa, Dha, Ni

Swaras are of two types-

(i) Komal Swaras - Komal Swaras are the ones which are higher or lower than the normal Swaras. These are also called 'Vikrit' notes.

(ii) Tivra (Pure) notes - Tivra means sharp. These notes are pure notes. But 'Ma' Swara is the only Komal Swara, which is called Pure. Tivra 'Ma' is Vikrit (Impure).

Except 'Sa' and 'Pa', all Swaras are Komal and Tivra. Sa and Pa are not Komal. These Swaras are stagnant; meaning thereby that sound doesn't to high or low. They are firm in their place.

 

Contents
First Day Introduction to musical notes:1. Komal Swaras, 2. Tivra Swara, Saptak:-1. Mandra saptak, 2. Madhya Saptak, Taar Saptak, Introduction to sings in Music-notations. 5-7
  Western Notation 8-11
Second Day Holding the Sitar,method of wearing (Mijraab). Pictoral representation of keeping fingers, sitting position of men and women while playing sitar, Bols of Sitar, Tuning the Sitar. 12-16
Third Day Method of playing Sitar. Various Swaras are produced by pressing the wire on the different portion of screen, meaning coordinating wires with Swaras, Sargams of pure notes which includes Aarohi and Avrohi for practicing. 17-26
Fourth Day Introducing:-1. Thaat Bilawal, 2. Thaat Kalyan, 3. Thaat Khammaj, 4. Thaat Bhairav, 5.. Thaat Purvi, 6. Thaat Marva, 7. Thaat Kaafi, 8. Thaat Aasavari, 9. Thaat Bhairavi, 10. Thaat Todi. 27-38
Fifth Day Introducing Raags-Jaati of Raags, Vadi Samvadi, 1. Raag Bilawal, 2. Raag Yaman, 3. Raag Khammaj, 4. Raag Kaafi, 5. Raag Aasavari, 6. Raag Bhairavi, 7. Raag Marva, 8. Raag Bahar, 9. Raag Kedara, 10. Raag Bhimpalasi, Gaten Raage, within Taal and matra 1. Gat Raag Bilawal, 2. Gat Raag Yaman, 3. Gat Raag Khammaj, 4. Gat Raag Kaafi, 5. Gat Raag Aasawari, 6. Raag Bhairavi, 7. Gat Raag Marva, 8. Gat Raag Bahar, 9. Gat Raag Kedara, 10. Gat Raag Bhimpalasi 39-48
Sixty Day Practicing hit filmi-songs  
  1. Mai ni mai munder pe tere 49
  2. Mai tujhko bhaga laya hun 51
  3. Didi tera dewar diwana 53
  4. Ai mere pyare watan 55
  5. Dil to pagal hai 57
  6. Sona kitna sona hai 59
  7. Sandese aate hain humen tadpate hain 61
  8. Babul ka ye ghar gori 65
  9. Roop suhana lagta hai 66
  10. Ye teri aankhen 68
  11. Bajigar o bajigar 69
  12. Hum tumse juda hoke 71
  13. Mehandi laga ke rakhna 73
  14. Ai mere watan ke logon 75
  15. Koyal kuke huk uthai 79
  16. Achha sila diya tune mere pyar ka 81
Seventh Day Filmi, Non-filmi Songs-Gazal-Bhajan etc.  
  17. Kaht ahai jokar sara jamana 82
  18. Mera piya ghar aaya 83
  19. Puchho jara puccho mujhe kya hua hai 85
  20. Rang bares bhige chunar wali 87
  21. Humko sirf tumse pyar hai 88
  22. Chand si mehbooba ho meri 90
  23. Tu chij badi hai mast mast 92
  24. choo lene do najuk honthon ko 94
  25. Ai meri johra jabin 95
  26. Ye mere prem patra padhkar 96
  27. Kis tarah jite hain 98
  28. Wo dur ke musafir 100
  29. Waqt se din aur raat 101
  30. Ye do diwane dil ke 103
  31. Ye do diwane dil ke 105
  32. Kitna pyara tujhe 106
  33. Bewafa yun tera muskurana 109
  34. Ishque mein kya batayen ke dono 111-112

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