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povster

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Reply with quote  #1 
The Vishnipur gharana uses two re frets but only after the main sa fret (no upper two re frets). This is not only on sitar but other fretted instruments such as surbahar and dilruba.

You can see this even today in photos of Manilal and Mita nag. I came across some old photos of vishnipur intruments and all of the fretted ones retained the 2nd re fret. Interestingly, the most prevelant shot of Gokul Nag on the internet shows him playing a sitar with a gap in the re fret. I asked Peter Row about that and even he has no idea what that's about, as Gokul Nag taught him with both re frets.

Just curious if other folks have sitars that are a little different in this kind of thing based on their gharana, going beyond the two main designs (KP vs GP).

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Surbaharplayer

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I've also had extra frets installed with my sitar a few years back. (My then teacher Pt. Ashok Pathak also had these installed and it seemed a good idea). But...when I looked at my sitar I just saw a sea of fret wires... and I lost all my sense of position on the neck.... took 'm off right away.....
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yussef ali k

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Hi. This is I think a most interesting aspect of the instrument, for the diversity of its implications: Regarding the above posts, a senior student of Mushtaq Ali Khan (>MAK) told me (Nov.'10) that the standard fret# for Jaipur seniyas was nowadays 17, but there were still some of MAK disciples using 16.As some are already building and using 24, I'd like to discuss, discuss, discuss the matter. I guess it ... it
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povster

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Reply with quote  #4 
I posted this in the Baklaram Pathak thread but it probably does work better here, so I moved it:

Vishnipur uses a 2nd Re fret but not a 2nd dha further up the neck. It makes sense to me as Vishnipur, instrumentally, has a vin lineage. Looking at it from a vin point of view as opposed to a sitar point of view, it is not just the bajtar that is a consideration, but what that 2nd re fret allows in the other strings as well, as they are played much more extensively on the vin than on the sitar. But on the vin (as well as sitar), going as high up on the neck as the dha fret on the three thicker strings is rare (or just not done). So it makes a measure of sense that, on a sitar, the lower Re fret would be present but not the dha fret. It would afford the sitar/surbahar the same versatility with the re fret as the vin has.

I have seen photos of older Vishnipur instruments such as esraj and surbahar that are also fretted with the second re fret.

Below is a shot of Vishnipur musicians Gokul Nag playing sitar and Surendranath Bandyopadhyay playing esraj, along with a shot of his surbahar. Note the 1st re fret is present in all, but the characteristic gap at the dha fret is also present in all.

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jpeg refrets.jpg (41.51 KB, 1 views)


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Dasani - the official bottled water of ICM
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