Tuning – in Detail

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13 thoughts on “Tuning – in Detail”

  1. I am a music teacher – strings – at Singapore American School. I used to live in India and learnt the dilruba (1995). I recently returned with a school group and bought one. I would like to view some of your free lessons, if possible.

  2. I notice that you have Ma shudh and Ma Tivar marked as the 11th fret, I think Ma Tivar might be the 12th fret.

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  4. I had a real difficult time trying to tune my esraj, then I got sidetracked with college. Is there a way to get an extension on the lesson. Also, what’s a good email to reach you with. I had a hard time finding one on this site.

  5. Hi, I have a question about dealing with Jawari strings. I get a “vvvvvvrrrrriiiiiiinggggg (anyone home?)” when I hit certain notes. Right now it’s around Re & Ga, and if I retune the Jawari strings, I just move the vringing to different notes.

    Is this a tuning issue or a playing issue? Is this sound a good thing or a bad thing? If it’s tuning, what’s the best way to off-set this effect?

    I don’t have a video of me attempting to play yet, but here’s one that shows the issue: http://www.youtube.com/watch?v=vY6PifTP9HE
    This guy vrings around Dha & Ni all over the place, but check out 0:58, 1:17. 1:45, 2:05, etc. Thanks a lot!

  6. Hi Lisa,
    Checked the link you sent . It’s a normal, good thing for a Dilruba. You can tune the Jawaris to the notes you want to emphasize.

    The Esraj does not have a Jawari bridge for sympathetics, so it doesn’t make that sound.

    If you really don’t like it – you could see if it’s possible to loosen and remove the Jawari strings.

  7. Or you could try blocking the Jawari strings with a small piece of cloth – so they don’t make any sound.
    ( I think that’s better than removing them )

  8. Hi, I wasn’t sure because I don’t hear that sound with the musicians that really know what they’re doing. Here’s a couple of goodies:


    I’ve noticed that if I slow it down and if I’m more careful transitioning from note to note that I can eliminate the random pinball ping. Maybe the art of it is to learn how to increase your speed while taming that sound. We’ll see!

  9. Questions:
    – Does Raag Yaman use Pa? It is not written in the notes used.
    – Is there a specific word (like Aroh) for ‘notes to be emphasized’ and ‘patterns to be used’?
    – When some artists make an exception and use notes that are not in the raag, how do we know it is still raag yaman? Do we focus on the pattern instead?

  10. Raveena:

    – Yes Pa can be used. My teacher taught me that you can use Pa when you are descending. . But I’ve heard many recordings of people not sticking to this rule.

    what i mean by “when you are descending” : when the next note is lower , you can use Pa … or If you are at PA, you can only go down to Ma , Ga , Re , etc. can’t go up to Dha Ni .
    If you want to ascend , you have to go up from Ma … like Ma Dha Ni or Ga Ma Dha Ni etc.

    like I said , I’ve heard many artists not stick to this rule.

    – Yes there are specific words, but I’ve never learned them formally – only read them on the internet.
    Note emphasized the most for the Raag , I think is VADI
    Second most emphasized note – SAMVADI
    the patterns to be used are – PAKAR ( like catch / hold )

    If they make exceptions – you should still be able to recognize the main PAKAR

  11. Hi there,

    Am I right in thinking that only the Ma Shudh string (1st String) is played with your fingers for producing the sound notes? I haven’t got a Dilruba yet but will be getting one in a couple of weeks.



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