9. One should now shape the squares 1, 2, 3 and 4. This is the part chiefly responsible for the final sound of the Sitar: As already mentioned in the beginning, the strings of a Sitar must vibrate on a curve in order to produce a distinct sound enriched with overtones. But this time the curve to be shaped is not part of a circle. It is a curve called a parabola.

To understand this one must bear in mind that the strings, when pressed down on the different frets, reach the bridge also at different angles. If for example the deep P (Western G, if the Sitar is tuned to C) is played on the first string, the angle formed by the wire on the edge of the bridge is very small, because of the large swinging length of the string pressed down to the P fret. But when we play up the scale this angle becomes larger and larger due to the graduated reduction of the swinging length.

We are, therefore, faced with the problem of designing a curve that will fulfil the following conditions. First: The surface of the bridge must be shaped in such a way that the arriving string is allowed to touch the surface at the smallest possible angle because only then can the wire vibrate on a (theoretically) transversal plane, producing the typical Sitar overtones. Second: As this smallest possible angle varies from fret to fret, the curve must be more round the higher we play the Sitar scale upwards. Frankly speaking, the required curve-the parabola-cannot be ground by following theoretical ideas as outlined above. Practically the Sitarist must say a little prayer and pin or glue again a sheet of fine-grain sandpaper on an even table. He will now try to grind the squares I to 4 (see fig. 3) in a curve as parabolic as possible, by moving the edge of the bridge gently over the sandpaper.

The bridge should be curved down about one millimetre by this time. The delicate operation can only be done with great care. The Sitarist should, therefore, cover the squares 1 to 4 (see fig. 3) with pencil lines again so that he can observe exactly where the sandpaper has worked and where not.

10. Once the parabolic curve has been ground the Sitarist should string the instrument and test it. To his despair he will discover that some wires are singing properly and others not. Usually the second, sixth and seventh strings are in order. But the third, fourth and sometimes also the fifth string produce only a dry and unsatisfying sound. The first string, at that stage of the Djovari, gives satisfying results only in the lower frequency range-fret 1 to 5 approximately. This is due to the fact that the strings are suspended in varying levels at the upper end of the Sitar:

To correct this the Sitarist must refine the parabolic curve, adapting it to the special conditions of each string. This is done by carefully prolonging the parabolic curve into the (so far untouched) squares 5 and 6 (see fig. 3). For this purpose the respective wire is removed from the instrument, and a few very light strokes with a small file, directed in between the remaining wires, will do the job.

Please keep in mind that at this stage of the Djovari a mere 1/10 of a millimetre can work wonders.

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