THEY are brothers-in-arms — quiet literally.

The Khans — Amaan Ali and Ayaan Ali — are the seventh generation of sarod players, and have been the greatest exponent of the instrument along with their illustrious father Ustad Amjad Ali Khan.

One of the many stringed instruments to emerge from the Indian subcontinent, the sarod (a 19-stringed Indian lute) has its origins in Afghanistan and Persia and is believed to be a modified version of the folk instrument, the rabab.

The soulful strain it echoed gave it its name — sarod — which translates as melody in Persian.

The elder of the duo, Amaan Ali Khan, was initiated early into the classical music fold and gave his first public performance at the age of eight. Along with the younger Ayaan Ali Khan, they enthralled the world of music with their dazzling technique and explosive rhythm, carving a niche for themselves while setting themselves apart from their more traditionalist father.

Yet, when the trio played together they experimented with ease, delivering sublime music that was both elegant and effortless.

It is all the more enchanting as classical Indian music is based on a genre called “ragas” that move in patterns, and has a surreal feel to it. They are often open to interpretations given that Indian classical music has no written or scored notes unlike in Western music.

This interpretation of the unwritten subtle nuances creates the “mood” that is often described by music enthusiasts as meditative and contemplative.

Brothers Amaan Ali and Ayaan Ali intend to recreate this very same disposition when they tune up for a lively evening on May 21 at the Shanghai Center Theatre on Nanjing Road W.

The brothers, who have collaborated with some of the best names in the industry, will introduce traditional Indian and folk music and share the sublime notes of the sarod with their Shanghai audiences.

In an exclusive chat with Shanghai Daily, the Khan brothers spoke of their music, their plans for China and of their legendary father Ustad Amjad Ali Khan whose ancestors developed and shaped the instrument centuries ago.

Q: How would you describe the music you play?

Amaan Ali Khan: To be a musician is in itself a blessing as you are really not answerable to anyone but yourself. For those few hours when you are on stage, you are in a creative frenzy, sometimes supernaturally unreal. There are times when you get off stage only to realize that something special happened up there on the stage that day. It’s a blessing to be in a profession of what you love doing. It is also a non-debatable factor that music is indeed the best way to connect to that supreme power that we have never seen. Be it any religion, music has always been the pathway to spirituality.

Ayaan Ali Khan: The first and most important element of Indian classical music is the raga. A raga is made of a set of ascending and descending notes within a certain discipline. But it is much more than a scale which also refers to the set of notes.

A raga has distinctive features with prominent notes, combinations of notes and timings of the day and season. Indian classical music has indeed had a very spiritual and scientific development and growth. This was a phenomenon that existed from Vedic times (ca 1500 — ca 500 BCE). The earliest version of classical music was the Vedic chants.

Interestingly, the effect of all the 12 notes on our body, mind and soul are very scientific. If we sing out all the 12 notes with concentration, the human body receives all its positive vibrations. In fact, the positive effect transcends even on plants and animals. Various permutations and combinations give the scales a shape of a raga. However, a raga is much more and beyond. It’s not just a mere scale. A raga has to be invoked, understood and cared for, like a living entity. People might find it amusing but in olden days and even to some extent now, artistes would say, ‘Don’t mess with a raga, it can curse you!’

Q: Is this your first visit to China?

Amaan: Ironically, though we have performed with many fine Chinese artists, this will indeed be our first time to China. We are really looking forward to our performances. We are performing in Shanghai and Beijing. We also have a few out reaches planned while we are here.

Q: Do you plan to play anything special for the Chinese audiences here?

Ayaan: An interesting aspect of the Indian classical music is that you have five people on stage, who don’t know what the other is going to do and yet have to perform like a rehearsed orchestra! Therefore our role as performers is really that of three people — the performer, the composer and the conductor. We will present traditional ragas and folk music from India.

Q: As sons of a famous father, does it make it easier for you to perform or do you feel the pressure to deliver?

Amaan: Initially I was conditioned into music but now it’s a passion and a reason for immense happiness in my life. Being Ustad Amjad Ali Khan’s son, it’s a matter of great honor and I feel highly privileged that god gave me the opportunity to be born to this family. My main concern is not to just get popular but the fear of embarrassing my father, God forbid, if I am unable to make good music.

Abba, as we call our father, is more of a father to us. Of course, the change in role for us — and for him — from guru (teacher) to father and back is somewhat effortless; however, it is a relationship with two people, like batman and Bruce Wayne! He has been the most patient teacher and the most loving father.

Abba’s teaching and philosophy is beyond music. It’s a way of life. The mantra taught by our parents has been to be a good human being first and good music will follow. Music is who we are and our nature reflects in our music. Therefore as siblings we know each other’s mind on stage. There is no rehearsal!

Ayaan: It did take me time to draw the line as to when he was a father and when he was a guru. This realization obviously happened as I grew older. I feel ecstatic to think and realize from time to time that my guru is my father. As a classical musician, music for me was not just a profession but a complete way of life. Abba is an old timer with regards to many things. For one, even though he is a dear friend to me, a certain protocol in relationship is always maintained. Abba is God loving and a very religious person, however, his religion is music. His intuitions are scary; in fact, it’s indeed very surreal at times. He is correct most of the times in what he believes in. For as long as I can remember, the first mantra taught by my father, and in my case my guru as well, was to be a good human being and to be a symbol of the etiquette and manners.

This was pretty much the code even during school days. Bad marks were acceptable but any bad behavior was not taken well. Abba is a complete disciplinarian. In fact, I feel proud to say that I have contributed to his elegant silver hair! In spite of being the monumental icon of music that he is, he continues to be an individual full of humility and a complete simpleton.

Q: Your best moments as musicians… 

Amaan: You are as old as your last concert and every concert is the first concert of your life. We have collaborated with Allman Brothers band guitarist Derek Trucks, American folk song writer Carrie Newcomer, Grammy nominated Oud player Rahim Alhaj and also with the National Youth Orchestra of UK. We were fortunate to have performed with the London Philharmonia.

More recently, in 2015, we worked with American violinist Elmira Darvarova to create a unique collaboration. The fruit of this meeting was the album “Soul Strings.” The second CD “Amalgam” will be released next month.

• Dazzling Duo on Sarod

Amaan Ali Khan & Ayaan Ali Khan

Date: May 21, 4-6pm

Tickets: 200/150 yuan

Venue: Shanghai Center Theatre

Address: 1376 Nanjing Rd W.

Click here to know more about sarod and the Khan brothers’ music.