It is a well-known that a few decades ago, sitar had 7 strings including 2 jod strings and a lower Pa string of brass. Over a period of time, 1 jod string was removed. This resulted into following benefits.
a. This created a greater gap between baj string and the balance jod string. This facilitated stroke production without creating a jumble of sounds from 2 jod strings, as was experienced earlier.
b. Ustad Vilayat Khan did not require a tanpura player to accompany his public sitar recitals (apparently as per earlier practice). However, he discreetly evolved a technique which assists in creating an atmosphere like tanpura strumming. Details have been explained in the note on ‘Role of chikari’.
c. It has been accepted fact that the space between two melodic phrases should ensure that the recital does not become hasty and tense. Playing chikari with a gliding stroke followed by pluck on the jod string ensures that a musical space is created. The speed at which alap is to be executed, should be in consonance with the mood of the raga. Thus the speed at which alap could be executed is regulated.
One additional point. The plucking of the jod string should not be sharp but soft and rounded – similar to the plucking of tanpura strings, which is not done with the tip of the fingers but with the fleshy part, to achieve rounded sound merging with the overall resultant composite musicality.