The Role  of the Surbahar:

It is suggested that the surbahar was developed as a replacement for the rudra veena, or bin. Originally for a full  performance of a raag  the player would play an Alap, Jhor Alap, and the Jhala on the bin. The performer would proceed using a sitar  for the Slow Gat, Fast Gat , a second Jhor  and Jhala.  The problem with this structure was that the rudra veena although highly suited to the Alap  was cumbersome  and used a different playing technique.  The invention  of a ‘bass’ sitar  provided the deep resonance  desired for the Alap section  whilst using  a similar technique to the sitar.  Ustad Imrat Khan claims, as do others, his great great grandfather Ustad Sahebdad Khan was responsible for this innovation. However recent research shows that Lucknow-based sitarist Ustad Ghulam Mohammed may have been the inventor. Currently there are two schools of thought as to the role of the surbahar. The Dhrupad tradition considers the instrument as a  ‘modern’ form of the  rudra veena while the other view is that it is a specialist instrument for sitar style alaps.

This is what I have been told. If anyone has another theory please let me know.

Size & Style:

Today the surbahar is rarely used in modern classical Indian music, perhaps  as a result the design and size of the instrument is more varied than that of sitars. The gourd is cut transversely rather than vertically, the neck is longer and wider and depending on manufacturer it may or may not not have a second tumba.  A further  difference is  the  addition of a ‘foot’  on  the  underside of the tumba,  as it is too  large to rest on the player’s foot. This style of instrument (my own) is shown on the ‘Welcome page’ ; this is the instrument used by Imrat Khan, Shubba Shankram and  Kushal Das. (N.B.  Barun Roy  is the son of Hiren Roy, he took over management of the family business  on the death of his father). A second larger style with a second tumba is shown above, I am not sure of the manufacturer of  this instrument.

Purchase:

Probably the best  surbahar’s  are made by  Barun Roy  and   Monoj Kumar Sadar. The Barun Roy instrument being used by the most prominent of  current professionals. Indeed Kushal Das  advised I bought this style as it was  slightly smaller and easier to play for prolonged periods of time.  Probably the cheapest way to obtain an instrument would be to visit their workshops !  I know that Barun Roy will give an online quote. Naturally  there are several Indian music shops in London  and elsewhere in the UK. As a generality  I have found the London based companies less than helpful  and they do not, usually, have surbahars in stock. There maybe others - enough said.  I  found  a company in  Germany,  which  although more expensive than a direct purchase from India,   loaned me the instrument for a month, at 50% of its retail price, on a sale or return basis. They also carry a wide range of supplies and are incredibly helpful www.india-instruments.de

Tuning:

The Barun Roy  surbahar is designed to be  tuned around Ab - B; I understand that other styles can be tuned lower. (As a reference point  sitars are usually tuned around B-D)

Technique:

I only know of two basic different techniques  between  sitar and surbahar.

When playing the chickari strings surbahar players may prefer to use the  4th finger  rather  than  the  mizrab.

It is common  to use both the 1st and 2nd fingers of the left-hand together particularly for meend in  an Alap section. I have also seen references to the use of two mizrabs, the second on the 4th finger.

Of  course  this is what I have been taught  and  neither  of  these modifications  to playing technique are essential.

Sources of surbahar music:

As far as I am aware Imrat Khan is the most prolific artist. He has recorded a number of cd’s with  Nimbus Records UK. Others include: Kushal Das, Shubba Sankaram, Pushparaj Koshti & Pt. Ashok Pathak. (Some of my more modest attempts may be accessed from the “About Me” page) It is also worth listening to  the rudra veena as a source of inspiration.