Esraj

The structure of both instruments is very similar, both having a medium sized Sitar -like neck with 20 heavy metal Fret s. This neck holds on a long wooden rack of 12-15 Sympathetic String s while the ''dilruba'' has more sympathetic strings and a differently shaped body than the ''esraj''. They both have four main strings which are bowed. All of the strings are metal. The soundboard is a stretched piece of goatskin similar to what is found on a Sarangi . Sometimes the instrument has a Gourd affixed to the top for balance.

The instrument can be rested between the knees while the player kneels, or more commonly rested on the knee of the player while sitting, with the neck leaning on the left shoulder. It is played with a bow, using the other hand to press the strings between the frets. The player may slide the note up or down to achieve the portamento, or sustained vibrations, characteristic of Indian music.

The esraj is mostly used as an accompanying instrument. It is the accompanying instrument of choice for Rabindra Sangeet singing. However, it has also been used as a solo instrument to interpret Hindustani Classical Music, mostly in the Vishnupur tradition.

Unfortunately, the popularity of the esraj has been steadily declining. Its image as primarily an accompanying instrument has done little to attract new talent.

The most famous exponent of the esraj has been Pandit Ranadhir Ray, who died in 1988. Ranadhir Ray was a student of Ashesh Bandopadhyay, and was on the faculty at the Music department of Viswabharati University in Santiniketan. Today, the best known exponent is Buddhadeb Das, also from Santiniketan.

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Esraj

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