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yussef ali k

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Hi, all.
It's new for me & thought it could be
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OM GUY

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Thanks for that!! Pretty neat!! I liked it!!
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chrisitar

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Reply with quote  #3 
very unique sitar playing indeed. There is also a recording of Ud Bahauddin Dagar's student Pt Pushparaj Koshti playing the sitar (Raag Yaman) in a very 'dhrupad' style, it's one of my favorite sitar recordings ever, never heard anything quite like it!
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yussef ali k

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Reply with quote  #4 
Hi all,

Here is a photo of ZMDagar playing the sitar (could be c.1967. Bahauddin D is also pic'd playing a similar 1:same site).
I believe several players used this type by the 2nd quarter of the XX, though the model later came to be identified w/ RS-Maihar.

This 1 has 19frets (RS approved a 20th fret in his '68 book) and it puzzles me a bit to think they used 24 while playing the bin (anyway, string layout is comparatively 'inverted' on sitar).

http://bahauddindagar.webs.com/apps/photos/photo?photoid=60036140.

Further details on the Dagar sitar type would be much appreciated.

Have fun & care to reply.
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povster

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Quote:
Originally Posted by "yussef
Hi all,

Here is a photo of ZMDagar playing the sitar (could be c.1967. Bahauddin D is also pic'd playing a similar 1:same site).
I believe several players used this type by the 2nd quarter of the XX, though the model later came to be identified w/ RS-Maihar.

This 1 has 19frets (RS approved a 20th fret in his '68 book) and it puzzles me a bit to think they used 24 while playing the bin (anyway, string layout is comparatively 'inverted' on sitar).

http://bahauddindagar.webs.com/apps/photos/photo?photoid=60036140.

Further details on the Dagar sitar type would be much appreciated.

Have fun & care to reply.
Very interesting photo! Thanks for posting that. As regards the the vin, it is usually fully fretted: no gaps between any of the frets so you have 4 Re frets (2 middle and 2 upper octave) and 2 Dha frets for the middle octave.

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yussef ali k

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Reply with quote  #6 
Hi, all,

Povster,
Let's keep in mind that the Ustads were behind the development of the sitar, said to be for non-family students. Ex.: Omrao Khan binkar/ Ghulam Md, who collaborated further on designing the surb [which originally based on sitar came to retribute on the latter design: KP].

These students and their sitars were eagerly identifying themselves w/ their Ud's stylistic lineages by learning traditionally, copying the techniques they were given access to (Ustads knew every student was their offspring potential competition...).
Even before any sound was struck, student emulation started from the VISUALS: so came the 2nd gourds, bin-decoration... etc.

The achala fret (12 per 8ve) was there on Delhi by the XIX (Miner1993:45) but somehow the Bin string path/fretting never emerged on concert-sitars, to the point of someone like ZMD playing 19f sitar & 24f bin.

(Pers. opinion): Beyond the mere maintenance convenience, achala-fretting present both the learner/player w/ different possibilities (both in LH tech + during the very 1st learning period, when rote training + little questioning are/were the norm): Farrell discussed this regarding Mushtaq Ali K 17f seniya-sitar [2002].

Prof. A. Mahajan (Delhi U., MAK student) told there are still older MAK shishyas playing 16f.

To me & so far, the only solid argument against 24f is that it is 'visually confusing' (on the longer run, I'd say having both Dha in the lower but not higher register, or having notes 'appear and then disappear for other, different notes' as 1 relocates frets, that's potentially confusing too, i.e., abstracting the learner from the bigger pic of 12f/8ve [think about this on a 17f ...], etc).

And since the XX brought us absolutely brilliant sitariyas, one should try (again, pers. op.) to bring forth the styles that may have been sort of overlooked at the time ... that's why my curiosity on ZMD sitar, & the same for the instruments of

Ratna Rahimat Khan/Dharwad, Yusuf Ali Khan/Lucknow, Ramgovind & Ramesh Pathak, Bimal Mukherjee, etc, etc, etc.

so please have the pleasure of replying, all of you, while the last 1's still remain w/ us.

Thanks in advance + have fun diggin'.
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barend

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Reply with quote  #7 
Quote:
Originally Posted by "chrisitar"
very unique sitar playing indeed. There is also a recording of Ud Bahauddin Dagar's student Pt Pushparaj Koshti playing the sitar (Raag Yaman) in a very 'dhrupad' style, it's one of my favorite sitar recordings ever, never heard anything quite like it!
Yes, very interesting playing. First time I hear ZM Dagar playing sitar instead of veena. Sort of a faster dhrupad style. But less 'dhrupad like' as I expected. Hard to describe. Notice how the total pitch changes from the beginning to the end. It starts of much higher.
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trippy monkey

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Reply with quote  #8 
Barend
Yes, very unlike his Rudra veena playing, I was a little surprised as well.
But still of great interest as we often wonder what else Beenkars play!!!

Nick
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