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chrisitar

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I learned that the sarangi has a set of sympathetic strings tuned chromatically, and another tuned to the raag. My question is how it possible for notes not in the raag to echo in the chromatic tuning. IE If you are playing Marwa, shouldn't the komal re make the komal dha echo causing the raag to be ruined? OR When doing meend wouldn't notes between the two swaras sound, like a meend from ma to pa would make tivra ma sound? Just curious...
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nicneufeld

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Not speaking with any authority, but I've read that the side symps are often tuned chromatically (or one bank of them is). Note that those strings lack a jawari bridge. The upper two sets of jawari strings I think are tuned to the raag usually. Maybe the non-jawari symp strings are less responsive and just offer some overall "reverb" style resonance. I surmise this because jawari seems to have a strong effect on how symp strings respond on sitar.
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David Russell Watson

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Quote:
Originally Posted by "chrisitar"
I learned that the sarangi has a set of sympathetic strings tuned chromatically, and another tuned to the raag. My question is how it possible for notes not in the raag to echo in the chromatic tuning.
They do sometimes. Listen to enough sarangi music, and you'll hear a cacophonous effect from time to time from chromatically tuned sympathetic strings. It's just kind of accepted as the sarangi's characteristic sound, I suppose, just as that awful wheezing sound heard from guitars when a finger slides up or down overwound strings is accepted

It's kept to a minimum by the fact that the melody shouldn't linger on any notes not in the rag, but only pass quickly through them during glissando, there not being enough time to initiate a loud sympathetic response.
Quote:
Originally Posted by "chrisitar"
IE If you are playing Marwa, shouldn't the komal re make the komal dha echo causing the raag to be ruined?
Now that effect isn't so bad, since a string sounding komal ri also automatically sounds komal dha as an overtone anyway.
Quote:
Originally Posted by "chrisitar"
OR When doing meend wouldn't notes between the two swaras sound, like a meend from ma to pa would make tivra ma sound? Just curious...
Yeah, if it's slow enough, it can.

I think this is part of the reason that bin players, who specialize in slow stately glissandos and precise intonation, do not like sympathetic strings on their instruments, the still-sounding taraf making an unwanted interval with the baj tar now moved on, but then I can't explain the surbahar.

David
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peeceebee

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Reply with quote  #4 
My sarangis get all sorts of extraneous harmonics, sometimes very loudly. There's no way to avoid it, it's part of the richness of the instrument.

But here's a related question- One of my sarangis has too strong a response on the sympathetics on a few notes that seem to hit resonant frequencies in the skin- Is there any way to downplay this without reskinning? Will heavier or lighter strings tend to be less responsive at those frequencies?
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Jeredhunter1

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Reply with quote  #5 
I couldn't speak for the sarangi because I'm just a noob dilruba player but the skin issue may be a problem. Then again, maybe not. On my instrument I have tried the chromatic sympathetic tuning that is available on this site at the instruction of my teacher. I didn't like it because it took out a lot of the resonance from my instrument. The full sound that is available on a dilruba is lost. I have since switched back to my original tuning.

When I switched back to the original tuning I noticed that Dha and Pa weren't coming out as clear as before like the rest of the notes. My teacher (Peter Van Gelder from AACM in San Rafael) said that sometimes those notes don't ring out as loudly on some instruments. He used it as an opportunity to work on my fingering.

He gave some kind of physical explanation pertaining to the makeup of the strings and the nature of sound that I didn't write down but I'm sure I could search back through some of our recorded notes and find it for a future post.

Jered
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