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StVitus

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Reply with quote  #1 
I’ve noticed some musicians hitting the low pa and/or sa strings along with the chikari strings. I love the sound this produces in an alap. Are there rules for doing this? Is it specific to ragas that have a dark or mysterious sound? Is it just a thing some players do and not others?
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barend

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Reply with quote  #2 
Good question. There are no rules. If you like it use it. No specific ragas. What sitar players or recordings do you mean exactly? Most of them try to avoid the open bass strings (low Sa and Pa) when hitting the chikaris.
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katyrow

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Nikhil Banerjee did this a lot, no?  Particularly prevalent on his AIR recordings.
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StVitus

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Reply with quote  #4 
Kushal Das seems to do it in this video: 

And I think Mita Nag does it in this one: 
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barend

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Reply with quote  #5 
I like the taraf chords Mita Nag throws in. I wonder about her taraf tuning. Sounds different than the usual scalewise taraf tuning. Anyone knows this?
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StVitus

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Reply with quote  #6 
Regarding the taraf, this raga has three shudda notes—ni, ga, and ma—so I assume she’s tuning the tarafs accordingly. And it sounds pretty cool.
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g

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Reply with quote  #7 
Stroking the low P and S is usually used during the really slow portion of the Alaap, if at all, as it gives a fuller sound, though it gets too muddy and difficult during the faster portions (hence the hooks people use) unless you have exceptional right hand control.
It probably sounds nice with Raags with S-P or P-S vadi/samvadi, unless you tune your lower P playing string to low M for example in Malkauns.

PNB does tap the low sa every now and then in the alap, especially when ending on Sa, and it does sound very nice as a drone.
I don't think PRS did though, I can't remember hearing it in his recordings.

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Regarding the taraf, this raga has three shudda notes—ni, ga, and ma—so I assume she’s tuning the tarafs accordingly.


I think you mean Komal Ga and Ni, if you were talking about Suha Kanada [smile]

The last 3 Tarafs in the suha kanada recording sounds like: g n. S (descending order) but it's difficult to say.

Sometimes it sounds nice if you go N(low)-> S -> D(low) -> S or R , for example, for tuning tarafs from lower to higher, you don't have to go linearly when tuning tarafs (depending on your raag/scale/how much tension your strings can take), and can vary it if you are going to do some taraf smashing for some nicer harmonics.
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