AN ELEMENTARY ANALYSIS

Combining the mesmerizing sound of the sarangi & the expression possible with its bow, with the simplicity offered by the sitar’s frets, and the rich sound of its metallic strings, the dilruba was an ingenious innovation, and to this day, remains an inspiring instrument. Yet whose contribution was this remarkable gift to gurmat sangeet and Indian classical music alike?

There is no definitive answer to this question; different sources accredit the creation of the dilruba to various persons and time periods. Rather than being the creation of any one individual, the history of the dilruba may be considered an evolution.

It is commonly accepted that the dilruba was a modification upon the taus, a peacock-shaped, fretted stringed instrument combining the dand and frets of the sitar, with the sarangi’s goatskin on its belly, and bow. To understand the history of the dilruba, we must first understand the controversial history of the taus. According to Dr. David Courtney, the mayuri veena, or the “peacock veena” is very closely related to the taus; the plucked instrument may have provided inspiration. The creation of the esraj, another primarily north-west Indian instrument identical to the dilruba in nearly all aspects other than its sound box, which is the same as that of the taus, was around the same time, approximately 150-250 years ago, during which the creation of new instruments, including the sitar, was common.

One can assume, therefore, that the esraj may have provided inspiration on how to best simplify the taus. But who created the taus to begin with? There are two major theories on whose creation it was, both giving credit to two different gurus. The late Bhai Sahib Bhai Avtar Singh ji believes that is was the musicians of Guru HarGobind ji, the sixth guru of the Sikhs, who upon his request to create an instrument capable of imitating the peacock’s melodious voice, created the taus.

However, Professor Surinder Singh ji and the book Kanoon e Mousiqie, associate the taus’s creation with Guru Gobind Singh ji. Etymologically, this makes sense as taus is Persian for “peacock”, and dilruba, “hear-stealer.” The tenth guru, alone, was fluent in the language, however, it may be argued that the sixth guru, too, knew some Persian as is proven by fact that he named the Akal Takhat using the word “Takhat.”

During the tenth guru’s time, the Sikhs were “saint-soldiers.” Gallantly riding on horseback, the size and weight of the taus proved a hindrance. The Sikhs subsequently, approached Guru ji, asking for permission to adapt the taus into a more practical form, the dilruba.

The dilruba lacks the decorative peacock head and feathers which are solely aesthetic, yet the transmogrification changed its sound box to square. Originally, the sarangi’s bow, ornamented with red or green tassels, was used. However, though still used, a heavier bow similar to the German or Dragonetti double bass bow is now used, especially by the Raj Academy. This fusion does not present confusion; it was innovation that created the dilruba.