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Sai Bhajan Network – Article

.:: Issue II - May 2005 ::.

By: Pandit Ravi Shankar

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‘Appreciating Indian Classical Music’

Indian classical music is principally based on melody and rhythm, not on

harmony, counterpoint, chords, modulation and the other basics of Western classical
music.

The system of Indian music known as Raga Sangeet can be traced back nearly
two thousand years to its origin in the Vedic hymns of the Hindu temples, the
fundamental source of all Indian music. Thus, as in Western music, the roots of Indian
classical music are religious. To us, music can be a spiritual discipline on the path to
self-realization, for we follow the traditional teaching that sound is God - Nada
Brahma: By this process individual consciousness can be elevated to a realm of
awareness where the revelation of the true meaning of the universe - its eternal and
unchanging essence - can be joyfully experienced. Our ragas are the vehicles by which
this essence can be perceived.

The ancient Vedic scriptures teach that there are two types of sound. One is a
vibration of ether, the upper or purer air near the celestial realm. This sound is called
Anahata Nad or unstuck sound. Sought after by great enlightened yogis, it can only be
heard by them. The sound of the universe is the vibration thought by some to be like
the music of the spheres that the Greek Pythagoras described in the 6th century B.C.
The other sound Ahata Nad or struck sound, is the vibration of air in the lower
atmosphere closer to the earth. It is any sound that we hear in nature or man-made
sounds, musical and non-musical.

The tradition of Indian classical music is an oral one. It is taught directly by the
guru to the disciple, rather than by the notation method used in the West. The very
heart of Indian music is the raga: the melodic form upon which the musician
improvises. This framework is established by tradition and inspired by the creative
spirits of master musicians.

Ragas are extremely difficult to explain in a few words. Though Indian music is
modal in character, ragas should not be mistaken as modes that one hears in the
music of the Middle and Far Eastern countries, nor be understood to be a scale,
melody per se, a composition, or a key. A raga is a scientific, precise, subtle and
aesthetic melodic form with its own peculiar ascending and descending movement
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consisting of either a full seven note octave, or a series of six or five notes (or a
combination of any of these) in a rising or falling structure called the Arohana and
Avarohana. It is the subtle difference in the order of notes, an omission of a dissonant
note, an emphasis on a particular note, the slide from one note to another, and the
use of microtones together with other subtleties that demarcate one raga from the
other.

There is a saying in Sanskrit - "Ranjayathi Iti Ragah" - which means, "That which
colors the mind is a raga." For a raga to truly color the mind of the listener, its effect
must be created not only through the notes and the embellishments, but also by the
presentation of the specific emotion or mood characteristic of each raga. Thus
through rich melodies in our music, every human emotion, every subtle feeling in man
and nature can be musically expressed and experienced.

The performing arts in India - music, dance, drama, and poetry - are based on
the concept of Nava Rasa, or the "nine sentiments." Literally, Rasa means "juice" or
"extract" but here in this context, we take it to mean "emotion" or "sentiment." The
acknowledged order of these sentiments is as follows: Shringara (romantic and
delightful): Hasya (humorous): Karuna (pathetic): Raudra (anger): Veera (heroic):
Bhayanaka (fearful): Vibhatsa (disgustful): Adbhuta (amazement): Shanta (peaceful).

Each raga is principally dominated by one of these nine Rasas, although the
performer can also bring out other emotions in a less prominent way. The more
closely the notes of a raga conform to the expression of one single idea or emotion,
the more overwhelming the effect of the raga.

In addition to being associated with a particular mood, each raga is also closely
connected to a particular time of day or a season of the year. The cycle of day and
night, as well as the cycle of the seasons, is analogous to the cycle of life itself. Each
part of the day - such as the time before dawn, noon, late afternoon, early evening,
late night - is associated with a definite sentiment. The explanation of the time
associated with each raga may be found in the nature of the notes that comprise it,
or in historical anecdotes concerning the raga.

Although there are 72 "melas" or parent scales upon which ragas are based,
Indian music scholars have estimated that, with all their permutations and
combinations, there exist over 6,000 ragas! But a raga is not merely a matter of the
ascending - descending structure. It must have its "chalan "- or certain note patterns
characteristic of the raga; its principle important note (vadi); the second important
note (samavadi); and its main feature known as "jan" (life) or "mukhda" (face), the
cluster of a few notes by which a raga is immediately recognized.

In terms of aesthetics, a raga is the projection of the artist's inner spirit, a

manifestation of his most profound sentiments and sensibilities brought forth through
tones and melodies. The musician must breathe life into each raga as he unfolds and
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expands it. As much as 90 percent of Indian music may be improvised and because so
very much depends on understanding the spirit and nuances of the art, the
relationship between the artist and his guru is the keystone of this ancient tradition.
From the beginning, the aspiring musician requires special and individual attention to
bring him to the moment of artistic mastery. The unique aura of a raga (one might say
its "soul") is its spiritual quality and manner of expression, and this cannot be learned
from any book.

It is only after many long and extensive years of "sadhana" (dedicated practice
and discipline) under the guidance of one's guru and his blessings, that the artist is
empowered to put "prana" (the breath of life) into a raga. This is accomplished by
employing the secrets imparted by one's teacher such as the use of "shrutis"
(microtones other than the 12 semitones in an octave, Indian music using smaller
intervals than Western music: 22 within an octave): "gamakas" (special varieties of
glissando which connect one note to the other), and "andolan" (a sway - but not a
vibrato). The result is that each note pulsates with life and the raga becomes vibrant
and incandescent.

Next to be considered are the "talas" or "rhythmic cycles" of a raga. There is

unique intricacy and rhythmic sophistication in Indian music. There are talas ranging
from a 3 beat cycle to 108 beats within a cycle! The most popular talas are those
which have 5,6,7,8,10,12,14, and 16 beats to a cycle. There are also other cycles such
as 9,11,13,15,17, and 19 beats, etc., which are only played by outstanding musicians
on rare occasions.

The division in a tala, and the stress on the first beat (called sum), are the
most important rhythmic factors. While there are talas having the same number of
beats, they differ because the division and accents are not the same. For example,
there is a tala known as "Dhamar" which has 14 beats in the cycle divided 5+5+4:
another tala, "Ada Chautal" has the same number of beats, but is divided 2+4+4+4:
still another tala, "Chanchar: is divided 3+4+3+4.

In vocal music, a drummer will accompany a singer either in slow, medium, or

fast tempo at the start of a song in whatever tala the singer chooses. He will do the
same when he accompanies an instrumentalist in the gat section of a composition.
Like ragas, talas also have their own characteristics. Some of the older traditional
talas , such as "Chautal" (12 beats) and "Dhamar" (14 beats) are played on a two-faced
drum known as pakhawaj. This accompaniment is used in the old traditional "Dhrupad-
Dhamar" form of singing and in instrumental performances on the veena, rabab,
surbahar, etc. Today, most vocal and instrumental music is based on the
contemporary form called "khyal" and is accompanied by the Tabla, a two-piece
drum.

The improvisatory nature of Indian classical music requires the artist to take
into consideration the setting, time allowed for his recital, his mood and the feeling
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he discerns in the audience before playing. Since Indian music is religious in origin,
one finds the spiritual quality in most of the musician's performances.

The traditional recital begins with the alap section - the stately and serene
exploration of the chosen raga. After this slow, introspective, heartfelt, sometimes
sad beginning, the musician moves on to the jor. In this part, rhythm enters and is
developed. Innumerable variations on the raga's basic theme are elaborated. There is
no drum accompaniment in either the alap or the jor.

The alap and the jor evolve into the gat, the fixed composition of the raga.
Here the drums enter with the wonderful rhythmic structure of the gat and its time
cycle, the tala. This section in based on the "Khyal: form. From this moment on, the
gat (which can be anything between 4 and 16 bars of fixed composition) becomes the
vehicle for the musician to return to after his improvisation. While the artist has
complete freedom to improvise, he may do so only as long as he does not leave the
format of the raga and tala. This freedom within the bounds of artistic discipline
comes only after many years of training and sadhana. This is why one cannot rightfully
compare the improvisation in Indian music with the improvisation of jazz.

The step-by-step acceleration of the rhythm in the gat finally culminates in the
jhala portion as it becomes more and more playful and exciting. Sawal jabab, the
dazzling and rapid dialogue between sitar and Tabla, has the power to enthrall even
the most uninitiated listener with its thrilling interplay.

Indian music is much more appreciated and respected today in the west. Many
composers and musicians have been influenced by our music. The openness,
willingness to learn, and sincere enthusiasm of western audiences are a continuing
source of inspiration and delight.

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