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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.

  1. 2-note and 3-note krintans on the sitar. Krintan- Track 24 Krintansitar
  2. 2-note followed by double krintans like n n, D P D P on the sarode. Krintan- Track 25 Krintansarode
  3. 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. Krintan- Track 26 Krintan Bdg
  4. Manilal Nag plays krintan and sparsh alternately in raga Puriya Dhanashri. Krintan- Track 27 Krintan Sparsh Mn
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