Sitars are a stringed instrument of the lute family. They are the dominant instrument especially in Indian music. They appear to have developed under Medieval Muslim influence from the Tanbur, a Middle Eastern long-necked lute and from the Veena, or bin, a narrow, elaborate Indian Zither. Iconographic images of instruments similar to the modern Sitar appeared only around 1800. There is abundant proof that the instrument had taken on its present form by the mid-nineteenth century. Several additional innovations during the turn of the twentieth century have been made to the instrument since then, giving form to the current "standard" Sitar.

The word "SITAR" is Persian (Iranian) in origin, meaning three strings (Seh - three and Tar - string). The Persian Setar, Similar to the Turkish Saz, is a long thin-necked lute with a small wooden body. The Sitar normally has five melody strings and five or six drone strings which are used to accentuate the rhythm or pulse. Beneath the convex frets in the hollow neck are 9 to 13 sympathetic strings. There is often a gourd under the pegdox end of the neck. The Sitar is a modal instrument - meaning that depending on the key you are playing in you may need to retune the instrument. To complicate matters, frets are moveable on a Sitar, and if you are playing certain scales you will need to move certain frets to play certain notes. In this contemporary form, the Sitar is constructed of wood (teak) mahogany or (tun), gourd, metal, and bone. The wooden neck is around 35 inches long, 3.5 inches wide, and slightly troughed, terminating at one large resonating chamber made of gourd. It is not uncommon for a second resonating gourd to be attached at the other end of the neck on the dorsal side. On the neck rest about twenty scalloped, movable, metal frets tied by silk or nylon string. Sitars with fixed frets are less popular in present times. Sitar consists of two layers of strings made of steel, brass and copper. The bottom layer of approximately 13 steel strings are referred to as taraf (persian for excitement or joy) and rest on a small one inch long bone bridge, which is a fraction of an inch high. These strings are tuned to the notes of the raag being erformed and resonate when the strings on the main (top) bridge are plucked. The top layer of seven strings, used to create the melody and drone, rest between three bridges on one end of the neck and a main bridge that rests on the gourd section. Two of these three bridges anchor two of the three chikari (drone) strings that serve to extend notes and/or punctuate the rhythm. The remaining five strings lie on a bridge that spans the width of the neck. All seven strings converge, in a parallel manner, on the main bridge that sits on the gourd section. The main bridge is about three inches long, and one inch in both height and width. Over time, the melodic strings cut into the bridge and require it to be reshaped. Sometimes two hooks are attached to the frets to lower the height of two bass strings of the instrument so that they do not undermine the playing of Jhala or other fast passages.

HISTORY OF SITAR

The Sitar gained importance and prestige not very long ago; prior to about a century from now it was not even considered respectable. It was the Rudra Veena which was the highbrow instrument. Indeed, the traditional ustads (maestro) of the Veena rarely, if ever, taught to any one outside their fold; the zither was a family prerogative! Aliens who knocked at the doors of their citadels of knowledge were initiated into 'despicable' instruments such as the Sitar. However encoragement to the Sitar and its style came from the later half of the eighteen century. It was at this time that great masters like Amir Khan, Barkatullah Khan, Bahadur Khan, and Gulam Raza lived. They were exceptionally good instrumentalists and their beautiful music on the Sitar raised it to a respectable status and gave it wide recognition. Tastes in music were changing and the sonorous Veena and its grave style were losing their appeal, just as the Dhrupad singing and Pakhavaj were giving way to the Khyal and the Tabla; a kind of lyrical approach began to be preferred which encouraged the music of the Sitar. Of the many Sitariyas Masit Khan and Gulam Raza deserve special mention for they were the creators of styles which form the main bases of today's playing. The compositions of Masit Khan were developed into the Masit Khani baj which is lower in tempo, does not indulge in criss cross rhythm and provides ample scope for leisurely expansion. While the Sitar thus grew into a major lute with its own idiom and diction, the heavier alap (a rhythm free exposition of raga) of the Veena was taken over by the Sur Bahar which is a kind of outsized Sitar.

SITARS WE OFFER

We offer varieties of Sitars in different designs and price range. Sitars we offer are of great quality at reasonable price. This fascinating musical instrument "Sitar" is found enjoyed mostly in northern India. The Sitars we offer are beautifully decorated with handcarvings. Though simple yet great Sitars at reasonable price are available in our stock. The Sitars are made from finest wood. Other material such as bone, strings, steel coated brass are also used to make it more stronger and beautiful. Our Sitars have perfect sound which come in excellent quality. Since sound is the primary concern so to be a good Sitar it has to produce perfect sound therefore our Sitars are selected and tested for a perfect sound. All our Sitars are tested, rechecked and selected for the quality and sound. Our Sitars are shipped within 12 hours of order received through DHL and reached to the customer within 5 to 6 business days after it is shipped. We also have Sitar Wholesale Offer. Please Contact Us for detail.