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For the bow you will need to get some rosin. No other oils needed for the strings. I was using Carlsson for a long time and really like it. It's bass rosin, so very grippy and less dusty than some of the violin kinds. http://www.amazon.com/Carlsson-Bass-Rosin/dp/B000OJ418O

Right now I am using Baker's rosin and I think it's the best that is made. The problem is that it's so popular, you have to go on a waiting list and it took over 2 years before I was able to buy some.

For the two higher playing strings I recommend using harp strings (sheep gut), and a metal one (can use a flatwound guitar string) for the lowest. This is a very good brand for the harp strings. http://www.bowbrand.co.uk/home.html

My guruji lives in Lahore, but he gives lessons over Skype and is an amazing player, very kind and a patient teacher. http://zohaibhassanamritsari.com/Lessons.html

Where are you located? I know a lot of sarangi players around the world, and your best case scenario would be to find one you could meet in person and help you get setup.
I was lucky enough to have a close friend that started sarangi a few years before me, so he has been able to help with getting my instruments in proper playing condition.

Feel free to PM if you have questions or want more info.

> I'm a big jazz and rock music fan

You'll probably be interested in West Meets East and West Meets East, Volume 2

>West Meets East is an album by American violinist Yehudi Menuhin and Indian sitar virtuoso Ravi Shankar, released in 1966. It was recorded following their successful duet in June 1966 at the Bath Musical Festival, where they had played some of the same material.[2]

>West Meets East won the 1967 Grammy Award for Best Chamber Music Performance,[3][4] the first time that an Asian musician had won a Grammy.[5]

> This recognition coincided with a period of heightened interest in Indian classical music,[6] and particularly Shankar,[7] as Western pop and rock bands such as the Beatles, the Byrds, the Rolling Stones and Traffic all adopted sitar or other aspects of the genre into their sound.[8][9]

http://en.wikipedia.org/wiki/West_Meets_East

http://en.wikipedia.org/wiki/West_Meets_East,_Volume_2

- Samples - http://www.amazon.com/West-Meets-East-Historic-Collection/dp/B00002CF0J

Disclaimer: Long answer, and quite subjective - I have no formal training of any sort (hindustani or western), I play guitar/flute/piano by ear and try to listen to most forms of music actively, and have consequently picked up a smattering of knowledge that is barely structured. If you want to really get into this, I recommend searching for a guru(teacher) - when it comes to Hindustani Classical, there's no real replacement.

1. Jhala:
   For a better idea of what the chikari strings do during a jhala, try this performance, pt.1 & pt 2 by Pandit Brij Bhushan Kabra (the jhala starts being apparent in the second half of pt 1 I think). The raag is Bihag. For the technique itself in the context of a sitar, see this.
   
   
2. Raagas:
   For a quickfire introduction to ragas, I'd recommend this 4 CD pack which comes with a surface level explanation for each of the 74 ragas - the basic notes that make up the raga, the time at which it is to be played/listened to and so on. Another thing I've done over the years is listened to more of Dhrupad as opposed to Khayal (which is what has been more popular over the years) - Dhrupad is stricter in terms of musical grammar, and consequently makes ragas easier to identify. As an added bonus the development of ragas is much slower, and it's a good introduction to microtonal variations in hindustani classical. In the same vein, listening to thumris (semiclassical in a sense) will help you relate ragas to their place in popular music.
   
   
3. Basic Theory:
   Finally, this playlist of short lessons aimed at introducing the untrained listener to the basic theory/philosophy of Indian music is great - it starts off with the assumption that you have zero knowledge of Hindustani Classical (or any music) and provides good insight into the workings and vocabulary of the music. Ideally start with this before you listen to the 4CD pack - it'll make much more sense that way.

I am aware of nada yoga, which I believe has connections to music:

http://en.wikipedia.org/wiki/N%C4%81da_yoga

I am also aware of the concept of pasyanti in Kashmir Shaivism which states that metal stringed instruments are gross pasyanti, which should allow one to enter some sort of samadhi. For a more general view of Kashmir Shaivism on music, there is this excerpt from an article that can be found here:

>In aesthetics music has a very special role. The power of music is highly appreciated in Kashmir Shaivism. It is included as an important aid to spiritual attainment and forms an important sadhana in the process of spiritual growth. In the process of universal manifestation explained earlier, ETHER (Akasa) is the finest of the categories of physical objects (Panch Mahabutas). Similarly, sound is the finest of the five specific sense perceptions (tanmatras). Thus sound or music is most effective in subduing body - consciousness and arousing the dormant blissfulness of pure consciousness.

>As per Vijnanabhairava, the pleasure aroused by song and music is accepted as a means to enter into the state of pure and blissful consciousness: "Yogins, experiencing their oneness with some incomparable pleasure aroused by the experience of objects like sweet songs etc. and fixing their mental attentiveness on it, find unity with the Absolute Lord through a practice of absorption in this kind of phenomenon (Vijnanabhairava, 73)"

Finally, you may want to check out the book The Mysticism of Sound and Music by Hazrat Inayat Khan which, while largely from a Sufi perspective, touches on native Indic traditions regarding music as a yogic tool.

There are a few books available. However, you got to understand the pedagogy here. Everything was verbal and in front of a teacher. Documentation was not encouraged much.

Also, as a style, ICM is very improvisational. Therefore, any teaching documented is just for that practice / teaching session only. This is different in western classical where the importance is given to accurate reproduction of what a composer created.

For instance, when my teacher teaches any raga to me, it would be a composition that he creates on the spot. A 2nd student at another time would get a completely different composition. The art being taught is not the composition itself, but, how to compose, the variations possible (in phrases, timing, speed) and how to build up the mood of the raga. This is the reason why a document/text book is not readily available.

However, here is one book that I have which attempts to document some of the ragas and their compositions. This is from Ustad Ali Akbar Khan and can be a good starting point for a learner, but, is no substitute for a teacher if one wishes to progress.

Hope this helps.

Hey, I'm learning Bansuri at the moment and I'm running out of breath too quickly too. I was recommended to try a resistance breathing exerciser, so I went out and bought one of these:

https://www.amazon.co.uk/Ultrabreathe-Adjustable-Resistance-Breathing-Exerciser/dp/B007CI0ZBC/ref=sr_1_1?ie=UTF8&qid=1466630883&sr=8-1&keywords=ultrabreathe

I'm only a few days in, so can't fully comment on its efficacy but lots of people have said it has helped them. Might be worth a look?

As for the sitting, try using a higher cushion. The most important thing when sitting cross-legged (in lotus/half lotus) is to keep the spine straight and knees on the floor. I think over time you will be able to sit for longer.

I'm not much of a singer so can't really comment on that.

This book + cd set is a good introduction https://www.amazon.com/Alaap-Discovery-Indian-Classical-Yourself/dp/B009UKLHBW