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trippy monkey

Posts: 4,281
Reply with quote  #1 
Ironic as the last post was about sarod playing.
Anyway Question.

I brought a sarod back from India in 2000 for my friend Janet who some will have seen me mention in my India posts a while back.

After checking out the actual notation finger positioning for the left hand, she observed that there seems to be some connection with the pegs & even screws positioning on the side of the fretboard that corresponds with the correct notation on the metal fingerboard. Looking down from above, of course.

Is this correct????? Or is it a coincidence?

She deduced that her sarod wasn't set up right because of this, regarding the bridge positioning itself.

I never noticed it before. Maybe Janet did because she's a guitar player. Obviously a professional or, indeed, a long time player wouldn't bother with this.


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Posts: 1,740
Reply with quote  #2 
Not being a sarod player I've no definitive answer for this but I'd say coincidence. My wife learned sarod a while back in the 80s and moved from a beginners to a better instrument. They were different in many respects, string length to bridge etc, but in neither was there any relationship to be seen betwen construction and finger positioning. The important factor for bridge positioning is sound quality, not string length, so I'm guessing every sarod needs a bit of retraining in positioning when you move from one sarod to another.

That's certainly true on the other "blind" instrument sarangi, they are all so different, you have to find your way by a combination of feel of the positioning by thumb or little finger and palm against the various parts of the body and peg holes, plus a certain amount of musical nous and experience in being able to quickly correct error.

The thing I have always said to people about fingers finding notes on sarangi is as soon as possible when learning the instrument to avoid looking - at all - at the hand and finger position. ie find the note by ear not by eye.
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