Krintan is the opposite of Sparsh. The movement of notes in the
Krintan is descending. For example in G R, the forefinger is placed
on R and the middle or ring finger is placed on G and immediately
after plucking G, the finger on it is moved transversely across the
string to produce a secondary plucking (without the help of the
right hand) so that R is sounded. Here, R is the main note and
G is
the sparsh-swar.
Though the musical idea behind both Sparsh and Krintan is the
kan-swar, they produce rather different effects (other than the
expected difference between voice and instrument) from the kan-swar
produced vocally. This is mainly because the chief action in playing
a Sparsh or Krintan involves complex plucking on a metal string with
both hands. The ensuing sound has a slightly metallic timbre and can
never be reproduced by the human voice. However, if a kan-swar is
played on an instrument using a swift meend, the effect is not so
different from its vocal counterpart.
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2-note and 3-note krintans on the sitar. |
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2-note followed by double krintans like
 n
n, D P D P on the sarode. |
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Buddhadev Das Gupta plays 2-note and 3-note krintans in a short
jod in raga Kafi Kanhada. This is followed by a special bandish
of his gharana entirely based on krintans. This composition is
in raga Kafi and set to drut teentala. |
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Manilal Nag plays krintan and sparsh alternately in raga Puriya
Dhanashri. |
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