Being closest to human voice there is no instrument better than the sarangi to represent and explore the intricacies of South Asian Classical Music (SACM). It has primarily been used as melodic accompanying instrument for vocal classical music such as khayal and semi classical music such as thumri, dadra, ghazal etc.

Unfortunately sarangi players did not touch the imagination of most musicologists of 20th century, and there is hardly any musical literature available on them. The impression being created was that they are second rate musicians and only fit to accompany courtesans. Their musical knowledge and theoretical expertise are not considered great, and usually they are not recognized as authority in music (Neuman 1980: 120).

This is far from truth because many sarangi players were excellent instrumentalists, vocalists and composers, with deep and profound knowledge of the Classical Music of Subcontinent. They were the founders of power khayal gharanas like Patiala, Kirana and Indore. In addition they were the foremost teachers of female singers.

In the later half of the 20th century, musicologists like Joep Bor have written very comprehensively about sarangi and its players, but almost nothing has been written about the sarangi players of Pakistan. Despite being great musicians they were never documented and no one knows their existence and contribution in the enrichment of the music of Subcontinent.

A dire need was felt to preserve the names of these unsung heroes. The instrument is truly on the verge of extinction in Pakistan. Only a handful of  sarangi players are left, five to be precise. A humble effort has been made to document as many sarangi players as possible, also keeping in mind the authenticity of the information.

To shows the diversity and originality in the playing of Pakistan sarangi players the left hand playing techniques of the sarangi players of Pakistan has also been discussed in detail. As effort has been made to discuss the influence of the playing technique on the playing style of an individual. Video examples have been provided to further illustrate the view point.

Very little has been written on the solo repertoire of sarangi. No significant analysis could be found on the playing style or baj of sarangi players. The sarangi has primarily been used as a melodic accompanying instrument. It does not has a music making model that has evolved as a tradition. Although there are no specific bajs in solo sarangi playing, but there are individuals who have excelled as soloist and have distinct features in there solo playing. The solo repertoire of sarangi has been discussed in detail giving oral as well as written references.

Due to the dearth of written material, mostly oral references have been used. The data has been collected through audio and video interviews of direct descendants and disciples of sarangi players, during the course of extensive field work of around two years. The cities that were spanned during the course of the field work include Lahore, Kasur, Faisalabad, Gujranwala, Rawalpindi, Islamabad, Multan, Bahawalpur, Karachi and Hyderabad. The sarangi players have been grouped according to the geographical region to which they belong.

History of Sarangi

Due to variety of its forms and widespread use sarangi is believed to have originative from folk instruments of India. Modern day sarangi is the modified and improved form of chikara, gujuratan and Sindhi sarangi, which are basically rural folk instruments of Rajistan, Haryana, UP and Punjab.

 As sarangi is believed to be originated from folk instrument of rural India it is very difficult to trace its history. Very little is known about folk music of India generally before the 16th century.

There are several opinions as to how and when sarangi came into being, some of them have mythological origins. Most of the Hindu sarangi players usually mentions Raavan as the inventor, but most Muslim sarangi players give credit to a learned Hakeem who saw a dried monkey skin and intestines hanging from a tree in a jungle and came up with a brilliant idea of making a sarangi.

Other musicians say that it is an import from the outside world maybe Greece or Central Asia. Some also attribute it to famous Muslim musician and poet Amir Khusrau. although there is no mention of any sarangi player in Mughal Emperor Akbar Court and in Ain e Akbari.

According to the famous writer Abdul Halim Sharar, sarangi is a recent invention in the credits of its invention goes to Mian Sarang, a court musician of Mohammad Shah Rangila. It developed with the rise of Khayal.

Some musicologists  suggest that since bowing instruments originated from Central Asia this might be the case with the origin of sarangi. Kobuz, a very ancient bowing instrument of Central Asia is considered to be the fore father of 14th centuries Chinese instrument YUAN SHIH, which in turn can be considered to be the ancestor of sarangi.

 Still there is no concrete evidence regarding sarangi as an import to India. One is inclined to think that since sarangi is the most authentic Indian instrument with the capacity of representing Indian music in its intricate form, it being an import is highly unlikely. As mentioned earlier the bowing instruments start appearing in Indian paintings in the 16th century. The first sarangi seen in a painting was in the 17th century. The painting depicts at least four Princes, listening to a seemingly sophisticated sarangi, being played by an old musician. It is really interesting to note that the sarangi depicted in the above painting resembles closely to the modern day Gujuratan sarangi.

According to the Musicologist D. Newman sarangi entered the classical arena in the first half of 18th century generally used as an accompanying instrument instead of Been. Because of its folk origin it entered the classical stage through rural musicians. To occupy the status of accompanists compared to just being minstrels was an upgradation for them. In the later half the same century ie 18th, its association with courtesans was also well established.

The decline of sarangi

Through this association they were able to interact with the classical music circle. It was the era when Khayal singing was at its zenith and most of these female singers were disciples of khayal singers. Sarangi penetrated the classical arena but its association with the courtesans remained as well in the 19th century. The common perception that along with tabla players they were ranked lowest in the hierarchy of musician persisted and their long association with courtesans and dancing girls relegated their social status further. They were considered neither vocalist nor instrumentalist, just accompanists. Their musical knowledge and theoretical expertise was not considered impeccable and they were not recognized as authorities on music. Ironically this all has not been true because most of the great female singers were the students of these sarangi players.  Being closest human to human voice its versatility which enabled it to produce every subtle nuances of vocal music, with this soothing and attractive timber made it an ideal accompaniment to classical vocal music, particular khayal singing. By the middle of the 19th century it became the preferred company instrument to khayal and another light classical form like thumri and dadra.

It is evident from the history of evolution of sarangi that the modern day classical sarangi has its roots in rural India and is most probably evolved from folks sarangis. Historically the sarangi may have been originally a solo instrument in its own right. In the painting of the 16th, 17th and 18th century, saints, yogis and faqeers are depicted playing the sarangi and singing with it. These painting give us another perspective that in the beginning sarangi may have been associated with religious music and mostly devotional song were played on it.

However not all the fiddlers were yogis or saints. Dhadis and Mirasi who were professional folk musicians from Punjab and Rajputana used to play folks sarangi and sing with it. They were soloists in their own right. With the passage of time these professional folk musicians began settling in the cities. In the classical musical traditions rabab and been were the accompanying instruments at that time. Rabab and been had developed into sophisticated instruments and were played solo too. These rural musicians must have discovered soon that it was nearly impossible to compete with rabab and been and in order to earn their bread and butter they started to provide accompaniment to courtesans. As they could company their own singing with sarangi it was not difficult for them to company these female singers as well

But despite its significant sarangi playing has been on an incessant decline especially in Pakistan. The analysis of this of the decline of sarangi coincides with the overall desperate condition of classical music after Partition. The great musical tradition is being lost. There are several reasons of the decline of classical music in Pakistan. Lahore was an important Cultural Center in North India before Partition. Many prosperous Hindu and Sikh families were the main patrons of the classical music but after Partition most of these patterns migrated to India. There were so many Muslim artists who prefer to migrate to Pakistan from India, among them some were legendary artists like Sardar Khan (grandson of Tanrus Khan) of Delhi Gharana, Roshan Ara Begum of Kirana Gharana, Asad Ali Khan (nephew of Fayyaz Khan) of Agra Gharana, Bundu Khan of Delhi Gharana, Akhtar Hussain Khan of Patiala Gharana and some young and promising artists like Salamat Ali Khan and Nazakat Ali Khan of Shamchaurasi Gharana and Amanat Ali Khan and Fateh Ali Khan of Patiala Gharana. But in an inverse move almost all the patrons migrated to India. After a while the artists realized that the old system of patronage has completely collapsed. Although cGovt of Pakistan offered patronage through  radio but it was inadequate and the artist started to suffer financially. The conditions were far better in India and it was a sad and decisive day when body Bade Ghulam Ali Khan chose to migrate to India after spending a few miserable years in Pakistan. This move resulted in the flowering of a very successful post Independence career there for Bade Ghulam Ali Khan.

Actually the policies of the state of Pakistan regarding classical music have been apathetic. It has been very difficult for the artist to earn their living and they were left at the mercy of the market. In a shrinking market they gradually lost their audience. Progressively the artist started discouraging their children from choosing classical music as a profession. New forms of music were becoming popular and consequently the children of the great masters of classical music started opting for film music or ghazal singing. Presently almost all the children of great masters are into pop music. The decline of the classical music became one of the primary reasons of the decline of sarangi. Social forces and influences have been largely responsible for the decline of sarangi. As mentioned earlier in the social hierarchy of musicians, both sarangi and table  players ranked among the lowest. They’re called Dhadis and Mirasis. Although sarangi and  table  players were equally important in the assembles of singing and dancing girls the tabla has to a great extent outgrown the stigma of association with prostitution partially because of its enhanced role and more glamorous status in the accompaniment of sitar and sarod. In popular imagination the sarangi remained linked to the world of courtesans.

The erosion of the funds of the nobility, shrinking courtesan patronage began under the British rule completed with the partition of India and Pakistan in 1947. The harmonium largely replaced the sarangi as the preferred company to vocal music although it’s temper tones are categorically out of tune for South Asian classic music. Generally vocalists shy away from the possible competition of sarangi players, as indeed sarangi players do something overplay or steal the limelight often, justifiably considering themselves to be of a more substantial musical pedigree than the singer they accompany.

Musical aesthetics have also changed during the 20th century. The use of microphones and the proliferation of recorded music have increased accessibility and public appreciation of sweet singing. The technical improvement in the sitar and sarod has contributed to the standardization of intonation with a high premium placed on slick clean music which “does not disturb”. The sarangi fits poorly into this context. Tt is not as glamorous as instrument as sitar and sarod. It is a survivor from a time when music spoke more directly to people and  formal brilliance were valued more highly than its slickness and technical perfection. The modern concert going public is largely motivated by questions of status. There is no longer a high premium placed on being profoundly moved by music.

 Sarangi is considered to be the most difficult instrument to play. It requires a lifetime to have reasonable control over this instrument. But the reward which players get in return is shamefully minimal. they’re considered neither vocalists nor solo instrumentalist. Lack of recognition had eroded their self-respect bringing about a decline in the dedication with which the tradition is sustained through practice and teaching and inevitably a decline in musical excellence. There had been many excellent players who due to their depressing economic prospects has become unmotivated with regard to the tuning and maintenance of their instruments. This compounds that dimness of the prospects of employment as well as inviting criticism for vocalist and from the musical public which further eroded self-respect. A large proportion of hereditary sarangi players are no longer teaching their sons. Disillusioned by the economic prospects offered by sarangi playing many are sending their sons to school in commercial colleges.

 These social and economic factors have forced the sarangi players not to transfer this great art to the next generation. Thus a glorious musical tradition is on the verge of extinction especially in Pakistan.

Sarangi Players of Pakistan

It is generally believed that the tradition of classical sarangi playing originated from Panipat, Sonipat, Jhajjar and Kirana, all small towns around Delhi. The early great sarangi players, who we know through oral and written history, also belong to these areas.

The sarangi players of Pakistan can be grouped under two major categories i.e. the players that migrated from India after Partition and the players that belong to the areas comprising Pakistan.

Lahore and Kasur are two regional centers in Pakistan that have produced the largest number of sarangi players. The musicians of Lahore claims that their ancestors belong to Lahore for more than two hundred years. These include vocalists as well as instrumentalists. The instrumentalists were mainly sarangi and tabla players.

Kasur on the other hand has even deeper roots in music that date backs to the time of Emperor Mohammad Shah Rangila (ghulam haider 2006:13). Some historians even believe that Mian Tansen often used to visit Kasur and with this reference Kasur was also called Choti Gawalior, literally meaning Small Gawalior (Khan & Sheikh 2006:12).

The musicians of Kasur were diverse in the sense that they were not only vocalists, but also binkaars, sarangi players and tabla players.  It is said that Budday Khan of Kasur was born in eighteen fifteen which places him in the age group of Haider Buksh of Panipat, who is believed to be the founder of classical sarangi.

Apart from Lahore and Kasur, Karachi, Faisalabad, Multan, Gujrawala, Sialkot, Hyderabad and even smaller towns had also produced sarangi players, though not in significant numbers. As sarangi was an accompanying instrument of the courtesans, wherever there were courtesans usually there were sarangi players.

The sarangi players that came to Pakistan after Partition include players from East Punjab, Rajhistan, Haryana, Utter Pradesh, Delhi and its surrounding cities. The sarangi players that came from the towns of East Punjab like Amritsar, Jalandhar, Hoshiarpur and Ludhiana mostly settled in Lahore, Faisalabad, Multan and Rawalpindi. On the other hand the sarangi players that came from Delhi, Muradabad, Rajhistan, Haryana and Utter Pradesh mostly settled in Karachi and Hyderabad.

Though there are various schools of sarangi playing but apart from Delhi Gharana of Mamman Khan, there are no recognized gharanas in sarangi playing. The term gharana in the contemporary sense means belonging to a particular area, following the same playing technique and style. 

Construction of Classical Sarangi

Sarangi is the premier bowing instrument of the subcontinent. The modern classical sarangi is roughly two and a half  feet long, carved out from a single piece of wood preferably of Tun. Other woods have also been used like Mango and Burma teak, but in durability and good sound quality were not an improvement over Tun wood. There is still no standardization regarding the making of sarangi and it is said as an adage that no two sarangis  are alike.

The classical sarangi consists of three parts: the belly, the chest and the head. The belly is hollowed out in the front and covered with goat skin. The chest and the head are hollowed out from the back and consists of peg boxes. The belly has an irregular shape and is more inwardly curved in the left side due to the extended width of the chest.  It has three main playing strings made of gut and thirty five to thirty eight sympathetic metal strings. The strings are  passed over and through an elephant shaped bridge usually made of bone of ivory or camel bone. This  bridge rest on a leather strap which protects the instrument’s goat skin face. The right side of the chest contains twenty four wooden pegs for tuning the sympathetic strings.  Out of these twenty four resonating strings, fifteen are  tuned chromatically and nine are tuned according to the scale being played.

 These sympathetic strings  are usually made of thin gauge steel. The resonating strings attached to the eleven frontal pegs mounted in the upper pegbox or head, are passed through two flat bridges,  known as the Jawari bridges. These strings are also tuned according to the scale being played The bow held with an underhand grip is usually made of Rosewood or Ebony with Black horse hair  and is considerably heavier than western violin or cello bows, contributing to the  solidity and vocal quality of the sarangi’s sound.

 The sarangis three melodic strings are stopped not with the pads of the fingers but with the cuticles or  the skin above the nails of left hand. There is no other instrument on which the strings are stopped with  so high a portion of the back of fingers.  Practice often leads to prodigious callusing as well as telltale  grooves in the fingernails. The difficulty of playing sarangi is legendary.

 The instruments used by sarangi players are between fifty to hundred years old, often inherited from their elders. The instruments tone and playability are largely determined by its make and  setting up;  the placement and contouring of the jawari  bridges, the thickness and height of the main gut and sympathetic  strings, the thickness of the goat skin etc. These complex skills require a lot of experience. Traditionally they have been passed like the music, from grandfather to father and to the children. But these skills are gradually being lost due to the decline of sarangi itself.

SARANGI PLAYERS FROM AMRITSAR