The present invention relates to an improved musical instrument.
More particularly this invention pertains to a musical instrument capable of producing a characteristic tonal quality with room for
considerable variation, thereby producing a wide range of musical
notes covering three complete octaves.
Heretofore, the simplest among string instruments used both in North Indian and Karnatak music, of different types, such as, classical, light classical and light music. This instrument provides a standing note depending on the scale selected by the vocalist or instrumentalist. It has four strings, has no fret and is played by plucking of strings by fingers. As it has no fret, and as each string is plucked separately it cannot produce isolated notes of varying pitch.
One of the most popular and versatile musical string instrument used to play classical and light classical music is Sitar which has movable frets and steel wires of different length and cross-section and is played by plucking the main string or wire with a close-fitting wire-loop worn on the index finger of the player called "Mezrab" or "Mijrab". Movement of index, middle and ring fingers (for a right handed player) over one of the main strings produce desired notes by pressing over or in between the frets. Another instrument of similar nature but different tonal quality is 'Sarod' which is also played by striking the string with a triangular metal or hardwood object, but has no frets.
A string instrument gaining popularity among people in general is "Hawaiwan Guitar", which was originally an accompaniment for Western music. This instrument has fixed frets and is played with the help of
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a steel bar held between index and middle fingers. The duration of resonating sound emitted by the instrument when struck by steel finger attachments is quite appreciable and is more than produced by any Indian string instruments. The tonal quality is also of a different variety, more suited to keep rhythm.
The present invention aims at creating a new musical instrument by combining the principles of Sitar and Guitar, differing in mode and style of playing from the aforesaid conventional musical instruments.
The versatility of this instrument is further manifested by the capability of altering the tonal quality of the sound produced by simply changing the strings from 'Piano Steel' wires to brass wires of thicker gauge, which produces the musical notes resembling a conventional Surbahar. Controlling and changing the inherent nature of musical notes produced in the same instrument by merely changing the strings has hitherto not been possible, and this is a unique feature of this instrument.
The principal object of this invention is to create a new musical instrument by combining the principles of Sitar and Guitar, but having a distinctive tonal quality of its own.
A further object of this invention is to provide a versatile musical instrument capable of producing varying tonal quality by merely changing the nature of strings.
A still further object of the present invention is to provide a new musical instrument which is capable of being fabricated from raw materials indigenously available.
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The foregoing objects of the invention are achieved by the present invention which provides an improved musical instrument created by combining the principles of Sitar and Guitar which comprises in combination -
(i) a "Tumba" or a large size dried gourd shell with a smooth surface, optionally carrying ornamentations;
(ii) a hollow wooden pole or "Danda" securely attached to Tumba by inserting into the recess at the upper surface thereof and" sealed by means of sealants usually employed for fixing musical instrument parts; (iii) a thin wooden plate called "Tabli" fixed on the upper side of Tumba;
(iv) a triangular wooden piece having four recesses or holes fixed at the lower end of Tumba called "Tail Piece", to which are attached one end each of the four main strings, usually by forming suitable knots; (v) a "Bridge" usually made of animal bone or hard plastic material placed above around 6" above said 'Tail Piece', over which four main strings pass, the other ends of the strings being attached to "Keys" which are rotatable in the grooves housing them for maintaining proper tension in the strings;
(vi) perforated and round, bead-shaped objects of hone, ivory, glass and such other durable material having a hole in the middle running throughout the length of the said objects called "Monkas", which are placed between 'Tail Piece' and 'Bridge' and are slidably movable for finer tonal adjustment of the strings;
(vii) a deated or/and curved wooden body fixed on "Tabli" for resting the thumb of the person playing the instrument;
(viii) a small, rounded piece of steel called "Steel Point" fixed on the upper side of "Danda", off the "Thumb Point" towards left, over which two "Chikari" strings extend towards the keys;
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(ix) a small iron body called "Clump" fixed on the upper part of the
'Danda' with silken thread for maintaining proper tension of the
'Chikari' strings;
(x) a plurality of bone or ivory-made curved plates fixed near the
keys, one having four recesses or grooves and the other having four
holes to allow four main strings to pass over and through the said
plates, called "Oti" and "Targahan", respectively;
(xi) a thin wooden bridge fixed on 'Danda', off 'Oti' and 'Targahan',
towards right, over which pass first and second strings;
(xii) four wooden "Keys" or kegs housed in four holes or recesses to
which are attached four strings and which can be turned for maintaining
proper tension and tuning of the strings;
(xiii) plurality of bars or ridges called "Frets" made of silken threads
fixed around the 'Danda', corresponding to pure musical notes, barring
komal (soft) 'Nishad' and "Tibra Madhyam", both of lower octave (udara),
and
(xiv) four strings of gauges 32, 33 and 00 for strings No.1, No.2 and
Nos.3 and 4, respectively.
The invention will now be described in detail narrating the constituent parts along with the fittings and fixtures, particularly with reference to the illustration given in Fig.1 of the accompanying drawings.
The constituent patts of the new musical instrument are given below :
TUMBA : A large size 'Tumba' has been chosen for the purpose of making the instrument because of the powerful, demure and jingling sweet sound emanating from large belly measuring around 41/2' ft. in circumference.
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PANDA : A hollow wooden pole called 'Danda' (measuring 31/2' ft. in length and 1' ft. in circumference) has been joined with "Tumba'.
TABLI : 'Tabli' is a thin wooden plate to be fixed on upper 3ide of 'Tumba'.
TAIL PIECE : One triangular wooden piece (measuring around 31/2" in length) containing 4 little holes, at the end of 'Tumba' and adjacent to and on the verge of 'Tabli'. The four strings of the instrument are to be knotted on 'Tail Piece'.
MONKA : 'Monka' is made of bone, ivory, glass and the like durable material round in shape, (circumference around 11/2"), containing a hole in the middle. Between, bone made 'bridge' and 'Tail Piece', on 'Tabli', four Monkas are to be placed. The 4 strings will pass through these 'Monkas'. 'Monka' can be moved on either side i.e. towards 'Tail Piece' or towards 'Bone Made Bridge' for the purpose of finer adjustment of tone.
BONE MADE. BRIDGE : One bone made 'Bridge' (measuring around 31/2" in length and 1" in height) to be fixed on the 'Tabli', around 6" off the 'Tail Piece*. Over this "Bridge', the 4 strings are made to pass towards the 'Keys'.
THUMB POINT : 51/2" off the bone made 'Bridge', on 'Tabli' towards 'Danda' a curved wooden piece (l1/2" in length), is called 'Thumb Point', is to be fixed for the purpose of resting thumb of right hand. To fix this 'Thumb Point", adhesive like "Fevicol" or "Dendrite" may be used.
STEEL POINT : A small rounded piece of steel (length 1" and circumference 2") is to be fixed on the upper side of 'Danda', 51/2" off the 'Thumb Point" towards left, on which the two 'Chikari String' to be extended towards Keys,, Function of this 'Steel Point' is to produce jingling sound
., - 6

of 'Chikari Strings'. For fixing the 'Steel Point',two small wooden brackets corresponding to the size of 'Steel Point' are to be fixed on 'Danda' and the small rounded steel piece is to be placed on this little wooden bracket. In any case height of the wooden bracket should not exceed the height of the 'Steel Point'. Further, a thin piece of rubber sheet is to be placed between the 'Steel Point' and the body of the 'Danda', within the said wooden bracket, to make the fixing of 'Steel Point' secure to prevent sliding displacement. To fix the wooden bracket for this, adhesive like "Fovicol" or "Dendrite" may be used.
CLUMP : 51/2" off the 'Steel Point' towards left, a small iron body called 'Clump' to be fixed on upper side of 'Danda' for the purpose of maintaining proper tension of two 'Chikari Strings', extending towards 'Danda'. Silken thread is to be used to fix this 'Clump' on 'Danda'. (circumference of 'Clump' measures around 1"). 'OTI' & 'TARGAHAN' : After 81/2" off the 'Wooden Bridge* towards 'Keys' a bone made curved plate is fixed over which 4 strings will extend towards the 'Keys', which is called 'Oti' and at a distance of 1" of 'Oti' towards the 'Keys' another bone made curved plate containing 4 little holes in it is to be fixed, which is called 'Targahan'. The 4 strings will pass through this 'Targahan' (both the 'Oti' & 'Targahan' will be 4" in length and 1/2" in width).
WOODEN BRIDGE : On 'Danda' 5" off the 'Oti' and 'Targahan' towards right, a thin 'Wooden Bridge (Length 2") to be fixed, over which the 1st string and 2nd string are to pass. Optimum length of both 1st and 2nd strings between 'Bone made' and wooden bridges measures around 2'7".
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KEYS : Pour wooden 'Keys' to be placed in the four holes at the end of 'Danda' for holding the 4 strings.
FRETS : Frets, i.e. bars or ridges, are provided on the 'Danda' to mark the source of appropriate awara3 or notes. These are silken threads, usually in plurality of strands, tied around the 'Danda', and disposed between the bone-made 'Bridge' and the wooden bridge. It is to be noted that no metal ridges or arches are to be used as 'Frets', and this constitutes a considerable improvement over the conventional string instruments like, Sitar, Guitar, Veena, etc. all of which use metal frets. There are provided fourteen Frets, twelve of which are marked on Suddha Swaras (pure notes), except Komal Nishad and Tibra Madhyarm, both of Udara (lower octave). Location and origin of different noses are indicated in Fig.3 of the drawings, between Fret numbers 1 and 14.
In this specification, unless otherwise specified, the following abbreviations have been used to designate different musical notes :
Saraj), Sa - S
Rekhab, Re - R
Gandhar,Ga - G
Madhyam,Ma - M
Pancham, Pa - P
Dhaibat,Dha - 'D'
Nishad, Ni - N,
corresponding to Do, Re, Mi, Fa, So, La, Ti of Western Music.
Furthermore, it is to be noted that terminologies used in this specification are in accordance with North Indian classical music. For example, Komal (minor or soft), Tibra (major), 'Thhat' (a generic group to which belong a number of 'Ragas' or specific combination of notes
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producing a desired effect), Udara (lower octave), Mudara (Middle octave'),
Tara (higher octave), and such other terms have been used in the text of
the specification. The names of the constituent components used in
fabricating the subject musical instrument and used in the specification
are also in keeping with the North Indian terminologies used among the
instrumentalists and also by the makers of such instrument(s).
Swaras or notes marked for different Frets of the instruments of
this invention are given below : -
String Ho. 2
Fret No. Produced 'Swara'
1 Udara 'N' (Komal)
2 Udara 'N' (Suddha)
3 Mudara 'S' "
4 Mudara 'R' "
5 Mudara 'G' "
6 Mudara 'M' "
7 Mudara 'P' "
8 Mudara 'D' "
9 Mudara 'N' "

10 Tara S' "
11 Tara 'R' "
12 . Tara 'G' "
13 Tara 'M' "
14 Tara 'P' "
String No. 1
1 Udara 'M' (Tibra)
2. Udara 'M' (Suddha)
3 Udara (P' (Sttddha)
4 Udara 'D' (Suddha)
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It is clear that the 2nd string open produces Udara Suddha 'D'
*
and the 1st string open produces Udara Suddha 'G'. The said 14
'Frets' are movable and can be moved by hand on either side to get 'Tibra' and 'Komal' Swaras and the instrument can be tuned in
different 'Thhata's (of North Indian Music) to play different
'Raga's. For the purpose of movement of 'Frets' there are
8 small coloured 'Dots' on 'Danda' distributed amongst the
14 'Frets' as signs of 'Komal' and 'Tibra' Swaras. The 8 'dots'
will help the instrumentalist to move and place the 'Frets' to
the desired 'Komal' & 'Tibra' Swaras, depending on the Raga
selected.
The method of fining the 'Frets' on 'Danda' and the 'coloured dots'
in between the 'Frets' is described as follows :
Proper place for fixing 'Frets' in between 'Wooden Bridge' and 'Bone Made Bridge'
Fret No* 1 0.157" or 4 cm from wooden bridge towards
Bone Made Bridge
Fret No. 2 O.138" or 3.5 cm from Fret No. 1
Fret No. 3 0.118" or 3 cm from Fret No.2
Fret No. 4 0.215" or 7 cm from Fret No. 3
Fret No. 5 O.256" or 6.5 cm from Fret No. 4
Fret No. 6 0.118" or 3 cm from Fret NO. 5
Fret No. 7 0.24" or 6 cm. from Fret No. 6
Fret No, 8 0.15?" or 4 cm from Fret No. 7
Fret No. 9 0.197"'or 5.5 cm from Fret No. 8
Fret No.10 0.079" or 2 cm from Fret No. 9
Fret No.11 0.157" or 4 cm from Fret No.10
Fret No.12 0.098" or 2.5 cm from Fret No.11
Fret So.13 0.079" or 2 cm from Fret No. 12
Fret No.14 0.079" or 2 cm from Fret No.13
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The 'Coloured Sots' on 'Danda' to facilitate the shifting of 'Frets' will be marked as follows :
'Dot' for Komal 'R' at the middle point between 'Fret' 3 & 4 'Dot' for Komal 'G' at the middle point between 'Fret' 4 & 5 'Dot' for Tibra 'M' at the middle point between 'Fret'6 & 7 'Dot' for Komal 'D' at the middle point between 'Fret' 7 & 8 'Dot' for Komal 'N' at the middle point between 'Fret' 8 & 9 'Dot' for Komal 'R' (Tara) at the middle point between 'Fret' 10 and 11 'Dot' for Komal 'G' (Tara) at the middle point between 'Fret' 11 & 12 'Dot' for Tibra 'M' (Tibra)at the middle point between 'Fret' 13 & 14
STRINGS : The subject instrument contains 4 (four) strings.
The 4 strings and notes produced by them on plucking are as follows :
String No, 1 (Gauge No.32) Open String reproduces
Udara Suddha 'G'
String No.2 (Gauge No.33) Open String reproduces
(Main String)
Udara Suddha 'D'
String Nos.3 and 4 (Gauge No.00) Both the Open Strings reproduce
(Chikari Strings)
The above 4 Strings are Piano Steel Wire, as per British Standard Wire Gauge. No thread is to be used for the purpose of 'Joari' (resonance) under the total 4 strings on Bone Made 'Bridge', because this is against the nature of the instrument. The length of above; 4 Strings from 'Bone Made Bridge' to 'Oti' is 3'3.5" each.
(A) THE METHOD OF PLAYING :
SITTING STYLE OF THE INSTRUMENTALIST : On a Carpet or likewise, the Instrumentalist should sit folding his/her left leg from the knee touching the left ankle to the right hip and the right leg should be folded from knee and right angle should 'be placed on Carpet keeping it adjacent to left knee. (see Fig. 2 of the drawings).
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HOLDING OF THE INSTRUMENT : The Instrumentalist should keep
flat the instrument while playing. The 'Tumba' would rest on the right side of the Instrumentalist and the end of the 'Danda' of the instrument would touch the left side of sitting place. The head of the 'Key' with which the 1st string is fixed would touch the sitting place. The right fore-arm would rest on 'Tabli' and right thumb would rest on the 'Thumb Point1. A 'Mijrab' is to be put on right fore-finger to play on and a 'Steel Bar' (21/2" in length and 2" in circumference) is to be moved by left hand, as shown in Fig. 2 of the drawings.
PLAYING STYLE : The playing style of the instrument has been created by combining the playing style of 'Sitar' and 'Guitar'. To make a stroke on string, the right fore-finger is to be used for having 'Downward' and 'Upward' strokes. This mode of playing is to be applied both for String No.1 and String No.2. The downward stroke is called 'Akarsha' and the upward stroke is called 'Apakarsha'. Stroke 'Akarsha' is to be used either on the 2nd string or on the 1st string by the said 'Mijrab' to reproduce the sound 'Daa', 'Dee' and 'Da'; likewise by the stroke 'Apakarsha', 'Raa' and 'Ra' sound will be produced.
The 'Steel Bar' in left hand held with the support of 'Thumb' fore finger and middle finger is to be placed on the desired 'String' and 'Fret', keeping the palm faced on the 'String' as also keeping the 'little finger and ring finger in touch with the string. In this position of left hand, stroke is to be made on string by right hand with 'Mijrab' to produce desired 'Swara' or note. To produce more than one 'swara', strokes 'Akarsha' and 'Apakarsha' should be done alternatively.
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A graphical representation is given bwlow in regard to the mode of playing the instrument :
String No.2 =
Fret No. 3 4 5 6 78 9 10
? ? ? ? ? ? ? ?
Stroke Akarsha Apakarsha Akarsha Apakarsha Akarsha Apakarsha Akarsha Apakar
Daa Raa Daa Raa Daa Raa Daa Raa
Repro-
dused S H G M P D N 8 :
(All Suddha Swaras)
String No. 1 :
Fret No. 2? 3? 4?
Stroke Akarsha Apakarsha Akarsha
Daa Raa Daa
Reproduced M P D
Swara
(All Suddha Swaras)
Effort to make 'Vibration' of swaras on string with 'Steel Bar' is not necessary because this is contrary to the nature of the instrument. Further, there should be no effort to touch the 'String' with 'Fret' in any
situation. Different types of 'Meer' and 'Gamak' can be applied as and

when required. 'Meer' and 'Gamak' can be done by rubbing the 'Steel Bar'
on string immediately after making stroke (either 'Akarsha' or Apakarsha')
by right hand,, as in the case of a guitar.
String No.3 and 4 i.e. 'Chikari Strings' are tuned on 'Tara' 'S' always. For use of these 'Chikari Strings', stroke 'Apakarsha' should be used. Generally, time lag between two swaras is filled by using these 'Chikari Strings'. Except this, use of 'Chikari Strings' depends upon the personal taste/requirement of the 'Instrumentalist'.
The Inventor-cum-Applicant desires to accord the name "TANTAR" to the musical instrument created by him, coining the term from the prefix "Tan" of "Tanpura" and the suffix "tar" from "Sitar", both being well-known musical instruments.
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To sum up, the invented musical instrument has the following special features :
(i) it is easy to play and possesses excellent tonal quality; (ii) it is possible to produce varying tonal characteristic simply
by changing the strings from Piano Steel Wire to brass wire
of desired gauge; (iii) the instrument can "be fabricated from indigenously available
raw materials, and (iv) it eliminates use of metal frets or bridges, thereby making
the instrument cost-effective.
While the invention has been described above by way of illustration, it includes within its scope alternatives sand obvious equivalents without deviating from the spirit and scope of the invention.
Having described the invention in detail, particularly with the help of the drawings, the invention will now be more specifically defined in the claims appended hereafter.
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I Claim :
1' An improved musical instrument created by combining the principles of Sitar and Guitar which comprises in combination -
(i) a "Tumba" or a large size dried gourd shell with a smooth
surface, optionally carrying ornamentations;
(ii) a hollow wooden pole or "Danda" securely attached to Tumba
by inserting into the recess at the upper surface thereof and sealed
by means of sealants usually employed for fixing musical instrument
parts;
(iii) a thin wooden plate called "Tabli" fixed on the upper side of
Tumba;
(iv) a triangular wooden piece having four recesses or holes fixed
at the lower end of Tumba called "Tail piece", to which are attached
one end each of the four main strings, usually by forming suitable
knots;
(v) a "Bridge" usually made of animal bone or hard plastic material
placed above around 6" above said 'Tail Piece', over which four main
strings pass, the other ends of the strings being attached to "Keys"
which are rotatable in the grooves housing them for maintaining proper
tension in the strings;
(vi) perforated and round, bead-shaped objects of bone, ivory, glass
and such other durable material having a hole in the middle running
throughout the length of the said objects called "Monkas", which are
placed between 'Tail Piece' and 'Bridge' and are slidably movable for
finer tonal adjustment of the strings;
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(vii) a dented or/and curved wooden body fixed on "Tabli" for resting the thumb of the person playing the instrument;
(viii) a small, rounded piece of steel called "Steel Point" fixed on the upper aide of "Dunda", off the "Thumb Point" towards left, over
which two "Shikari" strings extend towards the keys;
(ix) a small iron body called "Clump" fixed on the upper part of the
"Danda" with silken thread for maintaining proper tension of the 'Chikari'
strings;
(x) a plurality of bone or ivory-made curved plates fixed near the
keys, one having four recesses or grooves and the other having four holes
to allow four main strings to pass over and through the said plates,
called "Oti" and "Targahan", respectively;
(xi) a thin wooden bridge fixed on "Danda", off 'Oti' and "Targahan',
towards right, over which pass first and second strings;
(xii) four wooden "Keys" or Kegs housed in four holes or recesses to
which are attached four strings and which can be turned for maintaining
proper tension and tuning of the strings;
(xiii) plurality of bars or ridges called "Frets" made of silken threads
fixed around the 'Danda', corresponding to pure musical notes, barring
komal (soft) 'Nishad' and "libra Madhyam", "both of lower octave (udara),
and
(xiv) four strings of gauges 32, 33 and 00 for strings No.1, No.2
and Nos.3 and 4, respectively.
2. A musical instrument as claimed in Claim 1, wherein the Tumba is of around 4' - 4.5' in circumference for producing musical notes of proper tonal quality and resonance, and the 'Danda' is preferably 3.5' in length and around 1' in circumference.
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3. A musical instrument as claimed in Claim 1, wherein the triangular wooden "Tail Piece" holding securely one end of each of the
strings measures arounf 3.5 in length and each one of the Monkas has a

circumference of around 1.5.
4. A musical instrument as claimed in Claim 1, wherein the
'Bridge' optionally measures around 3.5 in length and 1" in height and
the 'Thumb Point' has a length of around 1.5.
5' A musical instrument as claimed in Claim 1, wherein the "Steel Point" has optimally a length of around 1" and a circumference of 2", which is securely fixed on a small wooden bracket placed on a thin sheet of rubber wrapped arounf the "Danda" to prevent displacement of said "Steel Point".
6. A musical instrument as claimed in any of the preceding claims, wherein the 'wooden bridge' has a length of around 2", and each one of 'Oti' and 'Targahan' optimally measures 4" in length and 1/2" in width.
7.. A musical instrument as claimed in Claims 1 to 6, wherein the length of the 1st and 2nd strings from bone made 'Bridge' to wooden bridge measures around 2'7", and the length of each one of the four strings between bone made 'Bridge' and 'Oti' is optimally around 3'3.5, the strings being of "piano Steel" grade.
8. A musical instrument as claimed in Claims 1 to 7, which is played by plucking the string with right fore-finger wearing a triangular steel-wire body called "Mijrab" and moving a steel bar by using the thumb, index and middle fingers of the left hand over Frets, fourteen in number.
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9' A musical instrument as claimed in Claim 8, wherein the steel bar measures around 2.5 in length and 2" in diameter.
10. An improved musical instrument created by combining the principles of Sitar and Guitar, substantially as hereinbefore described with particular reference to the accompanying drawings.

Dr. A. Basu Registered Patent Agent
&
Attorney for the Applicant
Dated this 28th day of November, 2003.
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This invention relates to a new and improved musical instrument created by combining the principles of Sitar and Guitar, which comprises the undernoted components -
(i) Tumba, (ii) Danda, (iii) Tabli, (iv) Tail Piece, (v) Bone/ivory Bridge, (vi) four Monkas, (vii) thumb rest, (viii) Steel Point, (ix) Clump, (x) Bone/ivory made Oti and Targahan, (xi) Wooden bridge, off Oti and Targahan, over which pass first and second strings, (xii) (four wooden keys housed in four holes to which are attached four strings, (xiii) fourteen Frets made of strand3 of silken threads and (xiv) four strings, No.1 being of 32 gauge, No.2 being of 33 gauge and Nos.3 and 4 being of 00 gauge.
The instrument is played by plucking the string with right hand index finger donning a 'Mijrab' and a rubbing a steel bar over the strings as in Guitar.
There can be variation in tonal quality by changing Piano Steel wires by brass wires of thicker gauge.