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Sitar

Miraj Sitar
String instrument
Other names	sitar
Classification	Necked bowl lutes String instruments
Hornbostel–Sachs classification	321.321-6 (Composite chordophone sounded with a plectrum)
Developed	14th century
Related instruments
Pandura Surbahar Rudra veena Saraswati veena Chitra veena Vichitra veena Sarod Sursingar Tambouras Tambura

The sitar is a plucked stringed instrument predominantly used in Indian and Pakistani classical music. It derives its resonance from sympathetic strings, a long hollow neck and a gourd resonating chamber.

Used widely throughout the Indian subcontinent, the sitar became known in the western world through the work of Ravi Shankar beginning in the late 1950s and early 1960s after The Kinks' top 10 single "See My Friends" featured a low tuned drone guitar which was widely mistaken to be the instrument.^[1] The sitar saw further use in popular music after The Beatles featured the sitar in their compositions, namely "Norwegian Wood (This Bird Has Flown)" and "Within You Without You". Their use of the instrument came as a result of George Harrison taking lessons on how to play it from Shankar and Shambhu Das.^[2] Shortly after, Brian Jones of The Rolling Stones used a sitar in "Paint It, Black" and a brief fad began for using the instrument in pop songs.

Etymology and history[link]

In his Bharatiya Sangeet Vadya Dr. Lalmani Misra traces its development from the Tritantri veena through the nibaddh and anibaddh Tamburas (so named after Rishi Tumbru), also called tanbur and later the jantra. Construction of the similar tanpura was described by Tansen. During the time of Moghul rule Persian lutes were played at court and may have provided a basis of the sitar. However, there is no physical evidence for the sitar until the time of the collapse of the Mughal Empire.

Mechanics[link]

The anatomy of a sitar

The sitar's curved frets are movable, allowing fine tuning, and raised so that sympathetic strings (tarb, also known as "taarif" or "tarafdaar") can run underneath them. A sitar can have 21, 22, or 23 strings, among them six or seven played strings which run over the frets: the Gandhaar-pancham sitar (used by Vilayat Khan and his disciples) has six playable strings, whereas the Kharaj-pancham sitar, used in the Maihar gharana, to which Ravi Shankar belongs, and other gharanas such as Bishnupur, has seven. Three of these (or four on a Ghandar-pancham sitar or "Vilayat Khan" style aka Etawa gharana), called the chikaari, simply provide a drone: the rest are used to play the melody, though the first string (baajtaar) is most used.

The instrument has two bridges; the large bridge (badaa goraa) for the playing and drone strings and the small bridge (chota goraa) for the sympathetic strings. Its timbre results from the way the strings interact with the wide, sloping bridge. As a string reverberates its length changes slightly as its edge touches the bridge, promoting the creation of overtones and giving the sound its distinctive tone. The maintenance of this specific tone by shaping the bridge is called jawari. Many musicians rely on instrument makers to adjust this.

Materials used in construction include teak wood or tun wood (Cedrela tuna), which is a variation of mahogany, for the neck and faceplate (tabli), and gourds for the kaddu (the main resonating chamber). The instrument's bridges are made of deer horn, ebony, or very occasionally from camel bone. Synthetic material is now common as well. The sitar may have a secondary resonator, the tumbaa, near the top of its hollow neck.

Sitar construction styles[link]

Sitar has been derived from the Persian word "Seh-Tar". "Seh" means three in Persian and "Tar" means strings. There are two popular modern styles of sitar, and they are offered in a variety of sub-styles and decoration patterns. The two popular styles are the "gayaki style" sitars (sometimes called "Vilayat Khan style sitars") and the full decorated "instrumental style" sitars (sometimes called "Ravi Shankar style sitars"). The gayaki style sitar is mostly of seasoned toon wood, with very little or total absent carved decorations. It often has a dark polish. The inlay decorations are mostly of mother of pearl (imitation). The number of sympathetic strings is often limited to eleven but may also feature thirteen. Jawari grinding styles are also different as is the thickness of the "tabli" (soundboard).

Close-up of the red & white engraved celluloid decoration on a toon wood "Ravi Shankar Style" Sitar

The other type of sitar, the instrumental style, is most often made of seasoned toon wood, but sometimes made of (Burma) teak wood. It is often fitted with a second small tumba (pumpkin or pumpkin like wood replica) on the neck. This style is mostly full decorated, with floral or grape carvings and celluloid inlays with colored (often brown or red and black floral or arabesque patterns. It typically has thirteen sympathetic strings. It is said, that the best Burma teak sitar are made from teak that has been seasoned for generations. Therefore instrument builders are on the look for old Burma teak that was used in old colonial style villas as whole trunk columns for their special sitar constructions. The sources of very old seasoned wood are a highly guarded trade secret and sometimes a mystery.

Preferences of taraf string & peg positioning and their total number

There exist a variety of additional sub styles and cross mixes os styles in sitar, according to the customers preferences. Most important there are some differences (preferences) in the positioning of sympathetic (Taraf) string pegs (see photo). Amongst all sitar styles there are student styles, beginner models, semi-pro styles, pro-models, master models, and so on. The prices are often determined by the manufacturers name and not by looks alone or used material. Some sitars by certain manufacturers fetch very high collectible prices. Most notable are older Rikhi Ram (Delhi) and older Hiren Roy (Kolkata) sitars depending upon which master built the instrument by hand.

Though not technically a sitar, the electric sitar is a guitar with a special bridge, known as the "buzz bridge", and sympathetic strings, to mimic the sitar. It has 6 strings and lacks movable frets, and is played the same as the guitar, except with a more "exotic" musical style.

Tuning[link]

	Sample music in Sitar A 1 min 43 second sample of Sitar sound, playing Yaman Raga
Problems listening to this file? See media help.

Tuning depends on the sitarist's school or style, tradition and each artist's personal preference. The main playing string is almost invariably tuned a perfect fourth above the tonic, the second string being tuned to the tonic. Moreover the tonic in the Indian solfège system is referred to as 'ṣaḍja', 'ṣaḍaj', or the shortened form 'sa', or else 'khaṛaj', a dialectal variant of 'ṣaḍaj', not as 'vād', and the perfect fifth to which one or more of the drones strings is indeed tuned is referred to as 'pañcam', not 'samvād'. [D.R.W.]

The sympathetic strings are tuned to the notes of the raga being played: although there is slight stylistic variance as to the order of these, typically they are tuned:

• I Sa= D
• VII Ni= C#
• I Sa= D
• II Re= E
• III Ga= F#
• IV Ma= G
• V Pa= A
• VI Dha= B
• VII Ni= C#
• I Sa= D
• II Re= E
• III Ga= F#

(the last three in the upper octave). The player should re-tune for each raga. Strings are tuned by tuning pegs, and the main playing strings can be fine-tuned by sliding a bead threaded on each string just below the bridge.

A black ebony wood Jawari

In one or more of the more common tunings (used by Ravi Shankar, among others, called "Kharaj Pancham" sitar) the playable strings are strung in this fashion:

• Chikari strings: Sa (high), Sa (middle), and Pa.
• Kharaj (bass) strings: Sa (low) and Pa (low).
• Jod and baaj strings, Sa and Ma.

In a "Gandhar Pancham" (Imdadkhani, school of Vilayat Khan) sitar, the bass or kharaj strings are removed and are replaced by a fourth chikari which is tuned to Ga. By playing the chikari strings with this tuning, one produces a chord (Sa, Sa, Pa, Ga or Sa Sa Ma Ga or Sa, Sa, Dha, Gha depending on the raga).

To tune the sympathetic strings to raga Kafi for example: I Sa, vii ni (lower case denotes flat (komal) I Sa, II Re, iii ga, III Ga (Shuddh or natural, in Kafi the third is different ascending and descending), iv ma, V Pa, VI Dha, vii ni, I Sa, II Re, iii ga.

There is a lot of stylistic variance within these tunings and like most Indian stringed instruments, there is no default tuning. Mostly, tunings vary by schools of teaching (gharana) and the piece that is meant to be played.

Playing[link]

A sitar workshop in Islamabad, Pakistan.

The instrument is balanced between the player's left foot and right knee. The hands move freely without having to carry any of the instrument's weight. The player plucks the string using a metallic pick or plectrum called a mizraab. The thumb stays anchored on the top of the fretboard just above the main gourd. Generally only the index and middle fingers are used for fingering although a few players occasionally use the third. A specialized technique called "meend" involves pulling the main melody string down over the bottom portion of the sitar's curved frets, with which the sitarist can achieve a seven semitone range of microtonal notes (it should be noted, however, that because of the sitar's movable frets, sometimes a fret may be set to a microtone already, and no bending would be required). Adept players bring in charisma through use of special techniques like Kan, Krintan, Murki, Zamzama etc. They also use special Mizrab Bol-s, as in Misrabani^[3] and create Chhand-s even in odd-numbered Tal-s like Jhoomra.

See also[link]

Indian classical music portal

• Sitar players
• Sitar in popular music
• Sitar in jazz

Notes[link]

External links[link]

Wikimedia Commons has media related to: Sitars

• Sitar information
• Sitar audio and video archives

Ravi Shankar
Shankar performs in Delhi in March 2009
Background information
Birth name	Robindro Shaunkor Chowdhury
Born	(1920-04-07) 7 April 1920 (age 92) Varanasi, United Provinces, Indian Empire
Genres	Hindustani classical music
Occupations	composer, musician
Instruments	sitar
Years active	1939–present
Associated acts	Uday Shankar, Allauddin Khan, Ali Akbar Khan, Lakshmi Shankar, Yehudi Menuhin, Chatur Lal, Alla Rakha, George Harrison, Anoushka Shankar, Beatles
Website	RaviShankar.org

Ravi Shankar (Bengali: রবি শংকর; born Robindro Shaunkor Chowdhury on 7 April 1920), often referred to with the title Pandit, is an Indian musician and composer who plays the plucked string instrument sitar. He has been described as the most known contemporary Indian musician by Hans Neuhoff in Musik in Geschichte und Gegenwart.^[1]

Shankar was born in Varanasi and spent his youth touring Europe and India with the dance group of his brother Uday Shankar. He gave up dancing in 1938 to study sitar playing under court musician Allauddin Khan. After finishing his studies in 1944, Shankar worked as a composer, creating the music for the Apu Trilogy by Satyajit Ray, and was music director of All India Radio, New Delhi, from 1949 to 1956.

In 1956, he began to tour Europe and America playing Indian classical music and increased its popularity there in the 1960s through teaching, performance, and his association with violinist Yehudi Menuhin and George Harrison of The Beatles. Shankar engaged Western music by writing concerti for sitar and orchestra and toured the world in the 1970s and 1980s. From 1986 to 1992 he served as a nominated member of the upper chamber of the Parliament of India. Shankar was awarded India's highest civilian honor, the Bharat Ratna, in 1999, and received three Grammy Awards. He continues to perform in the 2000s, often with his daughter Anoushka.

Early life[link]

Shankar was born 7 April 1920 in Varanasi to a Bengali Brahmin family as the youngest of seven brothers.^[2][3][4] Shankar's Bengali birth name was Robindro Shaunkor Chowdhury.^[2] His father, Shyam Shankar, an administrator for the Maharaja of Jhalawar, used the Sanskrit spelling of the family name and removed its last part.^[2][5] Shyam was married to Shankar's mother Hemangini Devi, but later worked as a lawyer in London.^[2] There he married a second time while Devi raised Shankar in Varanasi, and did not meet his son until he was eight years old.^[2] Shankar shortened the Sanskrit version of his first name, Ravindra, to Ravi, for "sun".^[2]

At the age of ten, after spending his first decade in Varanasi, Shankar went to Paris with the dance group of his brother, choreographer Uday Shankar.^[6][7] By the age of 13 he had become a member of the group, accompanied its members on tour and learned to dance and play various Indian instruments.^[3][4] Uday's dance group toured Europe and America in the early to mid-1930s and Shankar learned French, discovered Western classical music, jazz, and cinema, and became acquainted with Western customs.^[8] Shankar heard the lead musician for the Maihar court, Allauddin Khan, in December 1934 at a music conference in Kolkata and Uday convinced the Maharaja of Maihar in 1935 to allow Khan to become his group's soloist for a tour of Europe.^[8] Shankar was sporadically trained by Khan on tour, and Khan offered Shankar training to become a serious musician under the condition that he abandon touring and come to Maihar.^[8]

Career[link]

Training and work in India[link]

Shankar's parents had died by the time he returned from the European tour, and touring the West had become difficult due to political conflicts that would lead to World War II.^[9] Shankar gave up his dancing career in 1938 to go to Maihar and study Indian classical music as Khan's pupil, living with his family in the traditional gurukul system.^[6] Khan was a rigorous teacher and Shankar had training on sitar and surbahar, learned ragas and the musical styles dhrupad, dhamar, and khyal, and was taught the techniques of the instruments rudra veena, rubab, and sursingar.^[6][10] He often studied with Khan's children Ali Akbar Khan and Annapurna Devi.^[9] 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.^[11]

Shankar completed his training in 1944.^[3] Following his training, he moved to Mumbai and joined the Indian People's Theatre Association, for whom he composed music for ballets in 1945 and 1946.^[3][12] Shankar recomposed the music for the popular song "Sare Jahan Se Achcha" at the age of 25.^[13][14] He began to record music for HMV India and worked as a music director for All India Radio (AIR), New Delhi, from February 1949 to January 1956.^[3] Shankar founded the Indian National Orchestra at AIR and composed for it; his compositions experimented with a combination of Western instruments and classical Indian instrumentation.^[15] Beginning in the mid-1950s he composed the music for the Apu Trilogy by Satyajit Ray, which became internationally acclaimed.^[4][16]

International career 1956–1969[link]

Tabla player Alla Rakha, who was a frequent accompanist of Shankar, in 1988

V. K. Narayana Menon, director of AIR Delhi, introduced the Western violinist Yehudi Menuhin to Shankar during Menuhin's first visit to India in 1952.^[17] Shankar had performed as part of a cultural delegation in the Soviet Union in 1954 and Menuhin invited Shankar in 1955 to perform in New York City for a demonstration of Indian classical music, sponsored by the Ford Foundation.^[18][19] Shankar declined to attend due to problems in his marriage, but recommended Ali Akbar Khan to play instead.^[19] Khan reluctantly accepted and performed with tabla (percussion) player Chatur Lal in the Museum of Modern Art, and he later became the first Indian classical musician to perform on American television and record a full raga performance, for Angel Records.^[20]

Shankar heard about the positive response Khan received and resigned from AIR in 1956 to tour the United Kingdom, Germany, and the United States.^[21] He played for smaller audiences and educated them about Indian music, incorporating ragas from the South Indian Carnatic music in his performances, and recorded his first LP album Three Ragas in London, released in 1956.^[21] In 1958, Shankar participated in the celebrations of the tenth anniversary of the United Nations and UNESCO music festival in Paris.^[12] From 1961, he toured Europe, the United States, and Australia, and became the first Indian to compose music for non-Indian films.^[12] Chatur Lal accompanied Shankar on tabla until 1962, when Alla Rakha assumed the role.^[21] Shankar founded the Kinnara School of Music in Mumbai in 1962.^[22]

Shankar befriended Richard Bock, founder of World Pacific Records, on his first American tour and recorded most of his albums in the 1950s and 1960s for Bock's label.^[21] The Byrds recorded at the same studio and heard Shankar's music, which led them to incorporate some of its elements in theirs, introducing the genre to their friend George Harrison of The Beatles.^[23] Harrison became interested in Indian classical music, bought a sitar and used it to record the song "Norwegian Wood (This Bird Has Flown)".^[24] This led to Indian music being used by other musicians and created the raga rock trend.^[24]

Harrison met Shankar in London in 1966 and visited India for six weeks to study sitar under Shankar in Srinagar.^[14][25][26] During the visit, a documentary film about Shankar named Raga was shot by Howard Worth, and released in 1971.^[27] Shankar's association with Harrison greatly increased Shankar's popularity and Ken Hunt of Allmusic would state that Shankar had become "the most famous Indian musician on the planet" by 1966.^[3][25] In 1967, he performed at the Monterey Pop Festival and won a Grammy Award for Best Chamber Music Performance for West Meets East, a collaboration with Yehudi Menuhin.^[25][28] The same year, the Beatles won the Grammy Award for Album of the Year for Sgt. Pepper's Lonely Hearts Club Band which included "Within You Without You" by Harrison, a song that was influenced by Indian classical music.^[26][28] Shankar opened a Western branch of the Kinnara School of Music in Los Angeles, California, in May 1967, and published an autobiography, My Music, My Life, in 1968.^[12][22] He performed at the Woodstock Festival in August 1969, and found he disliked the venue.^[25] In the 1970s Shankar distanced himself from the hippie movement.^[29]

International career 1970–present[link]

George Harrison, U.S. President Gerald Ford, and Ravi Shankar in the Oval Office in December 1974

In October 1970 Shankar became chair of the department of Indian music of the California Institute of the Arts after previously teaching at the City College of New York, the University of California, Los Angeles, and being guest lecturer at other colleges and universities, including the Ali Akbar College of Music.^[12][30][31] In late 1970, the London Symphony Orchestra invited Shankar to compose a concerto with sitar; Concerto for Sitar and Orchestra was performed with André Previn as conductor and Shankar playing the sitar.^[4][32] Hans Neuhoff of Musik in Geschichte und Gegenwart has criticized the usage of the orchestra in this concert as "amateurish".^[1] George Harrison organized the charity Concert for Bangladesh in August 1971, in which Shankar participated.^[25] Interest in Indian music had decreased in the early 1970s, but the concert album became one of the best-selling recordings featuring it and won Shankar a second Grammy Award.^[28][31]

During the 1970s, Shankar and Harrison worked together again, recording Shankar Family & Friends in 1973 and touring North America the following year to a mixed response after Shankar had toured Europe with the Harrison-sponsored Music Festival from India.^[33] The demanding schedule weakened Shankar, and he suffered a heart attack in Chicago in November 1974, causing him to miss a portion of the tour.^[34] In his absence, Shankar's sister-in-law, singer Lakshmi Shankar, conducted the touring orchestra.^[34] The touring band visited the White House on invitation of John Gardner Ford, son of U.S. President Gerald Ford.^[34] Shankar toured and taught for the remainder of the 1970s and the 1980s and released his second concerto, Raga Mala, conducted by Zubin Mehta, in 1981.^[35][36] Shankar was nominated for an Academy Award for Best Original Music Score for his work on the 1982 movie Gandhi, but lost to John Williams' E.T.^[37] He served as a member of the Rajya Sabha, the upper chamber of the Parliament of India, from 12 May 1986 to 11 May 1992, after being nominated by Indian Prime Minister Rajiv Gandhi.^[14][38] Shankar composed the dance drama Ghanashyam in 1989.^[22] His liberal views on musical cooperation led him to collaboration with contemporary composer Philip Glass, with whom he released an album, Passages, in 1990.^[6]

Shankar underwent an angioplasty in 1992 due to heart problems, after which George Harrison involved himself in several of Shankar's projects.^[39] Because of the positive response to Shankar's 1996 career compilation In Celebration, Shankar wrote a second autobiography, Raga Mala, with Harrison as editor.^[39] He performed in between 25 and 40 concerts every year during the late 1990s.^[6] Shankar taught his daughter Anoushka Shankar to play sitar and in 1997 became a Regent's Lecturer at University of California, San Diego.^[40] In the 2000s, he won a Grammy Award for Best World Music Album for Full Circle: Carnegie Hall 2000 and toured with Anoushka, who released a book about her father, Bapi: Love of My Life, in 2002.^[28][41] Anoushka performed a composition by Shankar for the 2002 Harrison memorial Concert for George and Shankar wrote a third concerto for sitar and orchestra for Anoushka and the Orpheus Chamber Orchestra.^[42][43] In June 2008, Shankar played what was billed as his last European concert,^[29] but his 2011 tour includes dates in the United Kingdom.^[44]

Style and contributions[link]

Shankar plays the raga Madhuvanti at the Shiraz Arts Festival in Iran in the 1970s

Shankar developed a style distinct from that of his contemporaries and incorporated influences from rhythm practices of Carnatic music.^[6] His performances begin with solo alap, jor, and jhala (introduction and performances with pulse and rapid pulse) influenced by the slow and serious dhrupad genre, followed by a section with tabla accompaniment featuring compositions associated with the prevalent khyal style.^[6] Shankar often closes his performances with a piece inspired by the light-classical thumri genre.^[6]

Shankar has been considered one of the top sitar players of the second half of the 20th century.^[1] He popularized performing on the bass octave of the sitar for the alap section and became known for a distinctive playing style in the middle and high registers that uses quick and short deviations of the playing string and his sound creation through stops and strikes on the main playing string.^[1][6] Narayana Menon of The New Grove Dictionary noted Shankar's liking for rhythmic novelties, among them the use of unconventional rhythmic cycles.^[45] Hans Neuhoff of Musik in Geschichte und Gegenwart has argued that Shankar's playing style was not widely adopted and that he was surpassed by other sitar players in the performance of melodic passages.^[1] Shankar's interplay with Alla Rakha improved appreciation for tabla playing in Hindustani classical music.^[1] Shankar promoted the jugalbandi duet concert style and introduced new ragas, including Tilak Shyam, Nat Bhairav and Bairagi.^[6]

Recognition[link]

Shankar won the Silver Bear Extraordinary Prize of the Jury at the 1957 Berlin International Film Festival for composing the music for the movie Kabuliwala.^[46] He was awarded the Sangeet Natak Akademi Award for 1962,^[47] and was named a Fellow of the academy for 1975.^[48] Shankar was awarded the three highest national civil honors of India: Padma Bhushan, in 1967, Padma Vibhushan, in 1981, and Bharat Ratna, in 1999.^[49] He received the music award of the UNESCO International Music Council in 1975, three Grammy Awards, and was nominated for an Academy Award.^[12][28][37] Shankar was awarded honorary degrees from universities in India and the United States.^[12] He received the Kalidas Samman from the Government of Madhya Pradesh for 1987–88, the Fukuoka Asian Culture Prize in 1991, the Ramon Magsaysay Award in 1992, and the Polar Music Prize in 1998.^{[50][51][52][53]} In 2001, Shankar was made an Honorary Knight Commander of the Order of the British Empire by Elizabeth II for his "services to music".^[54] Shankar is an honorary member of the American Academy of Arts and Letters and in 1997 received the Praemium Imperiale for music from the Japan Art Association.^[6] The American jazz saxophonist John Coltrane named his son Ravi Coltrane after Shankar.^[55]

Personal life and family[link]

Shankar in 1988

Shankar married Allauddin Khan's daughter Annapurna Devi in 1941 and a son, Shubhendra Shankar, was born in 1942.^[10] Shankar separated from Devi during the 1940s and had a relationship with Kamala Shastri, a dancer, beginning in the late 1940s.^[56] An affair with Sue Jones, a New York concert producer, led to the birth of Norah Jones in 1979.^[56] In 1981, Anoushka Shankar was born to Shankar and Sukanya Rajan, whom Shankar had known since the 1970s.^[56] After separating from Kamala Shastri in 1981, Shankar lived with Sue Jones until 1986. He married Sukanya Rajan in 1989.^[56]

Shubhendra "Shubho" Shankar often accompanied his father on tours.^[57] He could play the sitar and surbahar, but elected not to pursue a solo career and died in 1992.^[57] Norah Jones became a successful musician in the 2000s, winning eight Grammy Awards in 2003.^[58] Anoushka Shankar was nominated for a Grammy Award for Best World Music Album in 2003.^[58]

Shankar is a Hindu and a vegetarian.^[59][60] He lives with Sukanya in Encinitas, California.^[61]

Discography[link]

Bibliography[link]

• Shankar, Ravi (1968). My Music, My Life. Simon & Schuster. ISBN 0-671-20113-1. 
• Shankar, Ravi (1979). Learning Indian Music: A Systematic Approach. Onomatopoeia. OCLC 21376688. 
• Shankar, Ravi (1997). Raga Mala: The Autobiography of Ravi Shankar. Genesis Publications. ISBN 0-904351-46-7. 

Notes[link]

References[link]

• "Shankar, Ravi" (in German). Brockhaus Enzyklopädie. 20 (19th ed.). Mannheim: F. A. Brockhaus GmbH. 1993. ISBN 3-7653-1120-0. 
• Ghosh, Dibyendu (December 1983). "A Humble Homage to the Superb". In Ghosh, Dibyendu. The Great Shankars. Kolkata: Agee Prakashani. p. 7. OCLC 15483971. 
• Ghosh, Dibyendu (December 1983). "Ravishankar". In Ghosh, Dibyendu. The Great Shankars. Kolkata: Agee Prakashani. p. 55. OCLC 15483971. 
• Lavezzoli, Peter (2006). The Dawn of Indian Music in the West. Continuum International Publishing Group. ISBN 0-8264-1815-5. 
• Massey, Reginald (1996). The Music of India. Abhinav Publications. ISBN 81-7017-332-9. 
• Menon, Narayana (1995) [1980]. "Shankar, Ravi". In Sadie, Stanley. The New Grove Dictionary of Music and Musicians. 17 (1st ed.). London: Macmillan Publishers. ISBN 1-56159-174-2. 
• Neuhoff, Hans (2006). "Shankar, Ravi". In Finscher, Ludwig (in German). Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik. 15 (2nd ed.). Bärenreiter. ISBN 3-7618-1122-5. 
• Schaffner, Nicholas (1980). The Boys from Liverpool: John, Paul, George, Ringo. Taylor and Francis. ISBN 0-416-30661-6. 
• Sharma, Vishwamitra (2007). Famous Indians of the 20th Century. Pustak Mahal. ISBN 81-223-0829-5. 
• Slawek, Stephen (2001). "Shankar, Ravi". In Sadie, Stanley. The New Grove Dictionary of Music and Musicians. 23 (2nd ed.). London: Macmillan Publishers. ISBN 0-333-60800-3. 

External links[link]

Find more about Ravi Shankar on Wikipedia's sister projects:
	Images and media from Commons
	Quotations from Wikiquote

Indian classical music portal

• "Ravi Shankar". Official website. http://www.ravishankar.org/. 
• "East Meets West Music". Ravi Shankar Foundation. http://eastmeetswestmusic.com/. 
• Ravi Shankar at Allmusic
• Ravi Shankar at the Internet Movie Database

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King / György Ligeti (2004) Gilberto Gil / Dietrich Fischer-Dieskau (2005) Led Zeppelin / Valery Gergiev (2006) Sonny Rollins / Steve Reich (2007) Pink Floyd / Renée Fleming (2008) Peter Gabriel / José Antonio Abreu / El Sistema (2009) 2010–present Björk / Ennio Morricone (2010) Kronos Quartet / Patti Smith (2011)

	Raga Multani Raga Multani, an afternoon raga, performed by Abdul Wahid Khan in 1947 and accompanied by Lal on tabla and Ram Narayan on tambura[1]
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Chatur Lal (1925 - October 1965), was an Indian tabla player. Lal toured with Ravi Shankar, Aashish Khan, Vasant Rai, and Ali Akbar Khan in the 1950s and early 60s and helped popularize the tabla in Western countries.^[2] Chatur Lal was born 1925 in Udaipur, Rajasthan.^[2] Lal died October 1965.^[3] His legacy is maintained by the Pandit Chatur Lal Memorial Society and his elder son Charanjit Chaturlal, his daughter-in-law Meeta Lal, his granddaughter Shruti Lal, and his grandson Pranshu Lal.

References[link]

External links[link]

• Official website
• Joshi, Sandeep (2009-11-19). "Musical feast in store". The Hindu. http://www.hinduonnet.com/2001/11/19/stories/14192184.htm. 

This Indian music-related biographical article is a stub. You can help Wikipedia by expanding it. v t e

George Harrison MBE
George Harrison at the White House in 1974.
Background information
Also known as	Carl Harrison L'Angelo Misterioso Hari Georgeson Nelson/Spike Wilbury George Harrysong George O'Hara-Smith Jairaj Hari san
Born	(1943-02-25)25 February 1943 Liverpool, England, UK
Died	29 November 2001(2001-11-29) (aged 58) Los Angeles, California, US
Genres	Rock, pop, psychedelic rock, experimental, world music
Occupations	Musician, singer-songwriter, actor, record and film producer
Instruments	Vocals, guitar, ukulele, harmonica, mandolin, tambura, sarod, swarmandal, bass, keyboards, violin, sitar
Years active	1958–2001
Labels	Parlophone, Capitol, Swan, Apple, Vee-Jay, EMI, Dark Horse
Associated acts	The Quarrymen, The Beatles, Traveling Wilburys, Dhani Harrison, Ravi Shankar, Eric Clapton
Website	www.georgeharrison.com
Notable instruments
Gretsch Country Gentleman "Rocky" "Lucy" Rosewood Telecaster

George Harrison,^[1] MBE (25 February 1943 – 29 November 2001)^[2] was an English musician and singer-songwriter who achieved international fame as lead guitarist of The Beatles.^[3][4] Often referred to as "the quiet Beatle",^[3] Harrison became over time an admirer of Indian culture and mysticism, and introduced it to the other Beatles, as well as their Western audience.^[5] Following the band's break-up he was a successful solo artist, and later a founding member of the Traveling Wilburys. Harrison was also a session musician and a film and record producer. He is listed at number 11 in Rolling Stone magazine's list of "100 Greatest Guitarists of All Time".^[6]

Although most of The Beatles' songs were written by Lennon and McCartney, Beatle albums generally included one or two of Harrison's own songs, from With The Beatles onwards.^[7] His later compositions with The Beatles include "Here Comes the Sun", "Something" and "While My Guitar Gently Weeps". By the time of the band's break-up, Harrison had accumulated a backlog of material, which he then released as the triple album All Things Must Pass in 1970, from which two hit singles originated: a double A-side single, "My Sweet Lord" backed with "Isn't It a Pity", and "What Is Life". In addition to his solo work, Harrison co-wrote two hits for former Beatle Ringo Starr, as well as songs for the Traveling Wilburys—the supergroup he formed in 1988 with Jeff Lynne, Bob Dylan, Tom Petty, and Roy Orbison.

Harrison embraced Indian culture and Hinduism in the mid-1960s, and helped expand Western awareness of sitar music and of the Hare Krishna movement. With Ravi Shankar he organised the first major charity concert with the 1971 Concert for Bangladesh. In addition to his musical accomplishments, he was also a record producer and co-founder of the production company HandMade Films. In his work as a film producer, he collaborated with people as diverse as the members of Monty Python and Madonna.^[8]

He was married twice, to model Pattie Boyd from 1966 to 1974, and for 23 years to record company secretary Olivia Trinidad Arias, with whom he had one son, Dhani Harrison. He was a close friend of Eric Clapton. To date, he is the only Beatle to have published an autobiography, with I Me Mine in 1980. Harrison died of lung cancer in 2001.

Early years: 1943–1959[link]

Harrison was born in Liverpool, Lancashire, England, on 25 February 1943,^[9][10] the last of four children to Harold Hargreaves Harrison and his wife Louise, née French.^[11]

Harrison's first home – 12 Arnold Grove

He had one sister, Louise, born 16 August 1931, and two brothers, Harry, born 1934, and Peter, born 20 July 1940. His mother was a Liverpool shop assistant, and his father was a bus conductor who had worked as a ship's steward on the White Star Line. His mother's family had Irish roots and were Roman Catholic;^[9] his maternal grandfather, John French, was born in County Wexford, Ireland, emigrating to Liverpool where he married a local girl, Louise Woollam.^[12]

Harrison was born in the house where he lived for his first six years: 12 Arnold Grove, Wavertree, Liverpool, which was a small 2 up, 2 down terraced house in a cul-de-sac, with an alley to the rear. The only heating was a single coal fire, and the toilet was outside. In 1950 the family were offered a council house,^[13] and moved to 25 Upton Green, Speke.^[14]

His first school was Dovedale Primary School, very close to Penny Lane,^[15] the same school as John Lennon who was a couple of years ahead of him.^[16] He passed his 11-plus examination and achieved a place at the Liverpool Institute for Boys (in the building that now houses the Liverpool Institute for Performing Arts), which he attended from 1954 to 1959.^[17]

Harrison said that, when he was 12 or 13, he had an "epiphany" of sorts – riding a bike around his neighbourhood, he heard Elvis Presley's "Heartbreak Hotel" playing from a nearby house and was hooked.^[18] Even though he had done well enough on his 11-plus examination to get into the city's best high school, from that point on, the former good student lost interest in school.^[18]

When Harrison was 14 years old, he sat at the back of the class and tried drawing guitars in his schoolbooks: “I was totally into guitars. I heard about this kid at school who had a guitar at £3 10s, it was just a little acoustic round hole. I got the £3 10s from my mother: that was a lot of money for us then.” Harrison bought a Dutch Egmond flat top acoustic guitar.^[19] While at the Liverpool Institute, Harrison formed a skiffle group called the Rebels with his brother Peter and a friend, Arthur Kelly.^[20] At this school he met Paul McCartney, who was one year older.^[21] McCartney later became a member of John Lennon's band called The Quarrymen, which Harrison joined in 1958.^[22]

The Beatles: 1960–1970[link]

Harrison became part of The Beatles when they were still a skiffle group called The Quarrymen. McCartney told Lennon about his friend George Harrison, who could play "Raunchy" on his guitar.^[23] Although Lennon considered him too young to join the band, Harrison hung out with them and filled in as needed.^[23] By the time Harrison was 15, Lennon and the others had accepted him as one of the band.^[24] Since Harrison was the youngest member of the group, he was looked upon as a kid by the others for another few years.^[25]

Harrison left school at 16 and worked as an apprentice electrician at local department store Blacklers for a while.^[26][27] When The Beatles were offered work in Hamburg in 1960, the musical apprenticeship that Harrison received playing long hours at the Kaiserkeller with the rest of the group, including guitar lessons from Tony Sheridan, laid the foundations of The Beatles' sound, and of Harrison's quiet, professional role within the group;^[28] this role would contribute to his reputation as "the quiet Beatle".^[29] The first trip to Hamburg was shortened when Harrison was deported for being underage.^[30]

When Brian Epstein became The Beatles' manager in December 1961 after seeing them perform at The Cavern Club in November,^[31] he changed their image from that of leather-jacketed rock-and-rollers to a more polished look,^[32] and secured them a recording contract with EMI. The first single, "Love Me Do", with Harrison playing a Gibson J-160E,^[33][34][35] reached number 17 in the UK chart in October 1962,^[36] and by the time their debut album, Please Please Me, was released in early 1963, The Beatles had become famous and Beatlemania had arrived.^[37]

Harrison (third from left) with the rest of The Beatles in America in 1964

After he revealed in an interview that he liked jelly babies, British fans inundated Harrison and the rest of the band with boxes of the sweets as gifts. A few months later, American audiences showered the band with the much harder jelly beans instead. In a letter to a fan, Harrison mentioned jelly babies, insisting that no one in the band actually liked them and that the press must have made it up.^[38]

The popularity of The Beatles led to a successful tour of America, the making of a film, A Hard Day's Night (during which Harrison met his future wife Pattie Boyd), and in the 1965 Queen's Birthday Honours, all four Beatles were appointed Members of the Order of the British Empire (MBE).^[39] Harrison, whose role within the group was that of the careful musician who checked that the instruments were tuned,^[40] by 1965 and the Rubber Soul album, was developing into a musical director as he led the others into folk-rock, via his interest in The Byrds and Bob Dylan,^[41] and into Indian music with his exploration of the sitar.^[42][43] Harrison's musical involvement and cohesion with the group reached its peak on Revolver in 1966 with his contribution of three songs and new musical ideas.^[44][45] By 1967, Harrison's interests appeared to be moving outside the Beatles, and his involvement in Sgt. Pepper's Lonely Hearts Club Band consists mainly of his one song, "Within You Without You", on which no other Beatle plays,^[46] and which stands out for its difference from the rest of the album.^[47]

During the recording of The Beatles in 1968, tensions were present in the band;^[48] these surfaced again during the filming of rehearsal sessions at Twickenham Studios for the album Let It Be in early 1969. Frustrated by ongoing slights, the poor working conditions in the cold and sterile film studio, and Lennon's creative disengagement from the group, Harrison quit the band on 10 January. He returned on 22 January after negotiations with the other Beatles at two business meetings.^[49]

Relations among The Beatles were more cordial (though still strained) during recordings for the album Abbey Road.^[50] The album included "Here Comes the Sun" and "Something", "Something" was later recorded by Frank Sinatra, who considered it "the greatest love song of the past fifty years".^[51] Harrison's increasing productivity, coupled with his difficulties in getting The Beatles to record his music, meant that by the end of the group's career he had amassed a considerable stockpile of unreleased material.^[52] Harrison's last recording session with The Beatles was on 4 January 1970. Lennon, who had left the group the previous September, did not attend the session.^[53]

Relationships with the other Beatles[link]

For most of The Beatles career, the relationships in the group were extremely close and intimate. According to Hunter Davies, "The Beatles spent their lives not living a communal life, but communally living the same life. They were each other's greatest friends." Harrison's wife Pattie Boyd described how The Beatles "all belonged to each other" and admitted, "George has a lot with the others that I can never know about. Nobody, not even the wives, can break through or even comprehend it."^[54]

Ringo Starr also stated, "We really looked out for each other and we had so many laughs together. In the old days we'd have the biggest hotel suites, the whole floor of the hotel, and the four of us would end up in the bathroom, just to be with each other." and added "There were some really loving, caring moments between four people: a hotel room here and there – a really amazing closeness. Just four guys who loved each other. It was pretty sensational."^[55]

John Lennon stated that his relationship with George was "one of young follower and older guy", and admitted that "[George] was like a disciple of mine when we started."^[56] The two would often go on holiday together throughout the 1960s. Their relationship took a severe turn for the worse after George published his autobiography, I Me Mine. Lennon felt insulted and hurt that George mentioned him only in passing. Actually, the book mentions John 11 times, which is higher than the number of mentions received by Paul, The Beatles, Eric Clapton or even George's second wife, Olivia.^[57] Nevertheless, Lennon claimed he was hurt by the book and also that he did more for George than any of the other Beatles. As a result, George and John were not on good terms during the last months of Lennon's life.^[58] After Lennon's murder, George paid tribute to Lennon with his song "All Those Years Ago" which was released in 1981, six months after Lennon's murder. It contains the lyric "I always look up to you", suggesting implicit agreement with Lennon's appraisal of their relationship.^[59]

Paul McCartney has often referred to Harrison as his "baby brother",^[60] and he did the honours as best man at George's wedding in 1966. The two were the first of The Beatles to meet, having shared a school bus, and would often learn and rehearse new guitar chords together. McCartney stated that he and George usually shared a bedroom while touring.^[61]

Guitar work[link]

Although not fast or flashy, Harrison's guitar work with The Beatles was solid and typified the more subdued lead guitar style of the early 1960s.^[62] The influence of the plucking guitar style of Chet Atkins and Carl Perkins on Harrison gave a country music feel to The Beatles' early recordings.^[63] Harrison explored several guitar instruments, the twelve-string, the sitar and the slide guitar, and developed his playing from tight eight- and twelve-bar solos in such songs as "A Hard Day's Night" and "Can't Buy Me Love",^[63] to slide guitar playing,^[64] first recorded during an early session of "If Not for You" for Dylan's New Morning in 1970.^[65] The earliest example of notable guitar work from Harrison was the extended acoustic guitar solo of "And I Love Her", for which Harrison purchased a José Ramírez nylon-stringed classical guitar to produce the sensitivity needed.^[66][67][68]

	"Till There Was You" noicon Sample of "Till There Was You". "A Hard Day's Night" noicon Sample of "A Hard Day's Night".
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Harrison's first electric guitar was a Czech built Jolana Futurama/Grazioso,^[69] which was a popular guitar among British guitarists in the early 1960s.^[70] The guitars Harrison used on early recordings were mainly Gretsch played through a Vox amp.^[71] He used a variety of Gretsch guitars,^[72] including a Gretsch Duo Jet – his first Gretsch, which he bought in 1961 second hand off a sailor in Liverpool;^[73] a Gretsch Tennessean,^[74] and his (first out of two) Gretsch Country Gentleman, bought new for £234 in April 1963 at the Sound City store in London, which he used on "She Loves You", and on The Beatles' 1964 appearance on The Ed Sullivan Show.^[73]

During The Beatles' trip to the US in 1964, Harrison acquired a Rickenbacker 360/12 guitar. He had tried out the 12-string electric guitar during an interview with a Minneapolis radio station, and was given the guitar either by the Rickenbacker company or the radio station.^[75] The 360/12 was an experimental 12-string guitar with the strings reversed so that the lower pitched string was struck first, and with an unusual headstock design that made tuning easier.^[71] Harrison used the guitar extensively during the recording of A Hard Day's Night,^[76] and the jangly sound became so popular that the Melody Maker termed it "the beat boys' secret weapon".^[77] Roger McGuinn liked the effect Harrison achieved so much that it became his signature guitar sound with the Byrds.^[78]

He obtained his first Fender Stratocaster in 1965 and used it for the recording of the Rubber Soul album, most notably on the "Nowhere Man" track, where he played in unison with Lennon who also had a Stratocaster.^[79] Lennon and Harrison both had Sonic Blue Stratocasters, which were bought second hand by roadie Mal Evans.^[80] Harrison painted his Stratocaster in a psychedelic design that included the word "Bebopalula" painted above the pickguard and the guitar's nickname, "Rocky", painted on the headstock. He played this guitar in the Magical Mystery Tour film and throughout his solo career. Harrison listed his early influences as Carl Perkins,^[81] Bo Diddley,^[82] Chuck Berry^[83] and the Everly Brothers.^[84]

After David Crosby of the Byrds introduced him to the work of sitar master Ravi Shankar in 1965,^[85] Harrison—whose interest in Indian music was stirred during the filming of Help!, which used Indian music as part of its soundtrack—played a sitar on the Rubber Soul track "Norwegian Wood", expanding the already nascent Western interest in Indian music.^[86] Harrison's sitar playing on "Love You To" represented an "astonishing improvement" over "Norwegian Wood" and has been termed "the most accomplished performance on sitar by any rock musician."^[87]

Song writing and singing[link]

Harrison wrote his first song published with the Beatles, "Don't Bother Me", while sick in a hotel bed in Bournemouth during August 1963, as "an exercise to see if I could write a song", [emphasis in original] as he remembered.^[88] "Don't Bother Me" appeared on the second Beatles album With The Beatles later that year, then on Meet the Beatles! in the US in early 1964, and also briefly in the film A Hard Day's Night. The group did not record another Harrison composition until 1965, when he contributed "I Need You" and "You Like Me Too Much" to the album Help!. One of his more enduring early works is 1965's "If I Needed Someone".