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A sitar can have 18, 19, 20, or 21 strings; 6 or 7 of these run over curved, raised frets and are played strings; the remainder are sympathetic strings (tarb, also known as taarif or tarafdaar), running underneath the frets and resonating in sympathy with the played strings.
Ravi Shankar, a master of the instrument, was the first to make inroads into Western culture with the sitar.. While the sitar had earlier been used in jazz and Indian film music, it was from the 1960s onwards that various pop artists in the Western world began to experiment with incorporating the sitar, a classical Indian stringed instrument, within their compositions.
Shankar began to perform publicly on sitar in December 1939 and his debut performance was a jugalbandi (duet) with Ali Akbar Khan, who played the string instrument sarod. [17] Shankar completed his training in 1944. [8]
He played sitar and tambura on the track, backed by musicians from the London Asian Music Circle on dilruba, swarmandal and tabla. [60] [nb 5] He later commented on the Sgt. Pepper album: "It was a millstone and a milestone in the music industry ... There's about half the songs I like and the other half I can't stand." [62]
In the 1960s, Sullivan learned to play the sitar, having been inspired by attending a recording session for Indian classical musician Vilayat Khan. [7] Sullivan released an album of Indian-style recordings under his own name, Sitar Beat (1967), and one as "Lord Sitar", Lord Sitar (1968). [8] He played sitar on a musical interpretation of the ...
The track features a sitar part, played by lead guitarist George Harrison, that marked the first appearance of the Indian string instrument on a Western rock recording. The song was a number 1 hit in Australia when released on a single there in 1966, coupled with " Nowhere Man ".
This category is for players of the North Indian stringed musical instrument, the sitar, also known as sitarists. Pages in category "Sitar players" The following 120 ...
The alap consists of sitar played in free tempo, during which the song's melody is previewed in the style of an Indian raga. [1] Described by Harrison biographer Simon Leng as "essentially an adaptation of a blues lick", [32] the seven-note motif that closes the alap serves as a recurring motif during the ensuing gat. [31]