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Meend is an important part of any classical performance; however, it is a technique not possible on a hand-held harmonium often used in musical concerts (or on the santoor). For this reason, traditionalists singing khyal prefer an accompaniment on an instrument such as a sarangi that can perform meend. [2]
The word sitar is derived from the Persian word sehtar, meaning ' three-stringed '. [7] According to Curt Sachs, Persians chose to name their lutes around the word tar, meaning string, combined with a word for the number of strings. Du + tar is the 2-stringed dutār, se + tar is the 3-stringed setār, čartar (4 strings), pančtār (5 strings). [8]
meend, a technique of singing notes in a fluid manner with one note merging into the next - there are many different kinds of meend; kan-swar, grace notes - the use of grace-notes depends on the raga being performed; andolan, a gentle swing on specific notes, used selectively; gamaka, a heavy to-and-fro oscillation involving two or three ...
It is known for a deep, weighty, introspective sound, in contrast with the sweet, overtone-rich texture of the sitar, with sympathetic strings that give it a resonant, reverberant quality. A fretless instrument, it can produce the continuous slides between notes known as meend ( glissandi ), which are important in Indian music.
Like the sitar, the left hand technique involves playing on the frets, controlled pushing on the strings to achieve higher tones and glissandi through increased tension, and finger flicks, all reflecting the characteristics of various ragas and their ornamentation (gamaka). Modern innovations include one or two circular sound holes (like that ...
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It is played with a bow (known as a "gaz"), with the other hand moving along the strings over the frets. The player may slide the note up or down to achieve the portamento, or meend. The esraj can imitate the "gamak" of vocal music and by using the middle finger one can create "krintan". Roy used sitarbaz, sarodbaz and esrajbaz in his compositions.
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