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The sarangi’s three melody strings are stopped not with the pads of the fingers but with the cuticles or the upper nails or the skin above the nails of the left hand. The Cretan lyra and Bulgarian gadulka are also played with the sides of the finger nails, but to my knowledge there is no other instrument on which the strings are stopped with so high a portion of the back of the finger. Practice often leads to prodigious callousing as well as to tell-tale grooves in the fingernails. The difficulty of sarangi technique is legendary. Have a look at Ustad Abdul Latif Khan’s hand:

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The sarangi (सारंगी) is the quintessential bowed instrument of South Asian art music. Its name is widely believed to mean “a hundred colours” suggesting its adaptability to a wide range of musical styles, its flexible pitch, and its ability to produce a large palette of tonal colour and rich emotional nuance.

The sarangi is revered for its uncanny capacity to imitate the timbre and inflections of the human voice as well as for the intensity of emotional expression to which it lends itself. In the words of Sir Yehudi Menuhin: “The sarangi remains not only the authentic and original Indian bowed stringed instrument but the one which… expresses the very soul of Indian feeling and thought.

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