Prattyush has remodeled the traditional sarode to a great extent, as explained in details here.
He has considerably reduced the width of the fingerplate on his sarode, which at its widest point (at the juncture of joining with the drum) is only 4.5”. He also uses a stainless steel maintenance-free fingerplate.
The air-chamber that extends like a hump to approximately half the length on the traditional sarode is much shorter on his instrument – where it only extends to approximately 4” from the drum juncture.
Both of the above changes not only make his sarode more streamlined and lighter but also facilitate better grip of the left hand on all the strings for high notes.
He has replaced the traditional bone bridge with one made of ebony.
The bone-made chikari bridge is also replaced with a metal pole riveted to the fingerplate – thereby doing away with screws on the body and also minute wavering that may disturb the sound of the chikari after a few years.
Together with these physical changes, Prattyush has made major contributions in almost all sections of his performances giving them a very individualistic approach. Already equipped with a solid technique and rich repertoire of his gharana, he exhibits a rare musical sensibility evolved through constant experimentation of absorbing from different genres of music.
He is the first sarodia to play the complex tappa style of singing on the sarode .
He plays novel ladant and jhala with cross-tempo variations packed with bols (multiple-pluckings) on chikari strings.
He also tunes main open strings of the sarode to raga notes.
He has a unique fingering technique and plays three-and-a-half octave movements with ease.
He has mastered fluent passages of sparsh and krintan
Using double-stops; he plays harmony notes and chords.
Click to hear a Mishra Khamaj Tappa
Click to hear raga Yaman, where the first string is tuned to tivra madhyam.
Click to hear a piece in raga Mishra Mand.
Click to hear harmonics and arpeggios in C-minor
further into the world of electronic technology and state-of-the-art gadgets.
He has created the jyotidhwani, which is in fact a development on the Mohan Veena made by Radhu- babu
However, the jyotidhwani totally depends on a pickup and is also aided by processors and pedals. Unlike the Mohan Veena , which has a flat bridge, Prattyush has used a knife-edge bridge and has done away with taraf strings.
Click for
Mishra Kafi on the jyotidhwani
With jyotidhwani, Prattyush is a highly sought after fusion performer and has played with world-known percussionists like, Pete Lockett, Bickram Ghosh and Tanmoy Bose.
Click to hear the Jyotidhwani in a composition with drums, electric piano and bass backings.
Click to hear the Mohan Veena
The Jyotidhwani
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