Category: Teaching

Question: Is there a way to practice the expressive aspects alongside the technical and virtuosic elements of ragas, both in general and for those that are lesser-known and less frequently taught, especially when a learner has limited access to feedback from scholars and limited resources on those specific ragas? I recall some scholars mentioning that bandishes reveal their guidance once a practitioner reaches a certain level of capability, experience, and exposure. What would be the best approach(es), then, along with / beyond relying on bandishes, to empower oneself as a self-Guru-Shishya in this context? [Sai Sudeep Das, India]

Submitted: 15 Nov. 2024 | Responded: 16 Nov. 2024

Methodical Approach for Mastery in Raga Rendering through Self-mentoring

You have raised a very interesting question. Traditionally, the Guru plays a very important role in transferring musical knowledge. But there are a handful of exceptions. I must tell you that identifying an able Guru is a challenge in itself. I understand that self-mentoring raga music requires well-directed and intelligent musical efforts. Also, the person who wishes to self-mentor must possess some pre-requisites qualities.  

1. Core Requirements for Self-Guided Raga Mastery:

To achieve proficiency in both common and rare ragas, you need to develop specific skills and knowledge:

• Understanding the Raga Rendering Process: Have a clear understanding of how to unfold a raga, including its progression and expression.
• Musically Sensitive Hearing: Enhance your listening abilities to identify nuances, microtones, and subtleties in raga performances.
• Converting Notations into Musical Expressions: Translate written notations into effective and expressive audio performances.
• Analytical Skills: Develop the ability to analyze sample raga renderings for their structure, creativity, and adherence to raga lakshanas (characteristics).

2. Essential Components for Raga Performance:

The critical elements you need to focus on include:

• Raga Lakshanas: Gather detailed information about the specific raga’s structure, including its arohana, avarohana, and characteristic phrases.
• Bandishes: Learn compositions in various tempos (laya) and rhythm cycles (talas) to understand the raga’s expression across different frameworks.
• Svarochchar: Master the traditional intonations or svarochcharas specific to each raga, which add uniqueness and authenticity to your performance.

3. Strategy for Self-Learning and Mastery:

Identify and Gather Resources:

• Use a mix of audio, audio, audio-visual, and text-based resources. These can be found on platforms like YouTube, traditional music books, or other online repositories.
• Analyze and Decode Raga Elements:
• To study the nuances of raga development, break down the identified resources. Focus on elements like chalans and different ornamentations.

4. Utilize Bandishes from Diverse Sources:

Access bandishes from recordings by stalwart musicians or notations available in traditional books. Use both these resources artistically and intelligently to expand your understanding of the raga.

5. When converting notations to audio renditions, validate your svara-uchcharas or intonations against the recorded bandishes of traditional musicians to ensure authenticity.

• Convert Notations to Practice:
• Study notations from traditional music books. Transform these into audio renditions.
• Transmusicalize (i.e., adapt) notations to fit your unique interpretative style while adhering to the raga’s structure.

6. Cross-Validate Authenticity:

• Compare your renditions with existing bandish recordings to ensure fidelity to the raga’s form.
• Use critical listening to identify areas where your rendition aligns or deviates from traditional expressions.

7. Create and Expand Raga Body:

• Develop the raga’s body using chalanas and their variations, ensuring a creative yet authentic exploration.
• Experiment with different improvisation techniques to deepen your engagement with the raga.

8. Continuous Review and Correction:

• Regularly review your recordings to self-assess and identify areas for improvement.
• Implement corrective measures and updates based on your assessments to refine your performance.

9. Practice with Accompaniments:

• Engage in consistent practice sessions with tabla or tanpura accompaniments to enhance rhythmic stability and melodic flow.
• This practice supports neuromapping, helping to internalize the raga’s structure and nuances.

10. Key Practices for Effective Self-Mentoring:

• Approach your learning with intelligence, thoughtfulness, and artistry.
• Ensure a balanced focus on technical precision and creative expression.
• Develop a disciplined routine incorporating the above strategies to build proficiency gradually.

Following this structured approach will help you master both common and rare ragas. Combining resources, intelligent analysis, and continuous practice will be essential for achieving a high level of musical proficiency.

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Question:  I am seeing over time sitarists are slowly reduced the amount of bass from the overall sound of the sitar , they are making modifications to the sitar and the there is a base cut – if a sitarist of this generation pics up a 50-60 year old sitar, invariably he cuts the bass What brought in the requirement to the present practitioners ? And does this help the overall sound ?? I personally love how the sitar used to sound previously- Ilyas Khan, Yusuf Ali Khan, Mustaq Ali khan, Nikhil Banerjee Their playing sounded more nuanced and true and rich and the raga. Please shed light on this if possible, thanks in advance, pranams. [Souradip Laha, India]

Question submitted on 14 Nov. 2024 | Responded on 15 Nov. 2024

Your question revolves around (a) your liking of a type of sitar, i.e., sitar with bass strings, and (b) the contrasting choice of sitar without bass strings by most current sitar players.

When (1) individual experiences shape an individual’s personal preferences and (2) broader trends within the sitar player community may happen because of one or combinational reasons that I shall discuss below.

For any specific individual, e.g., the questioner, musical choices are often influenced by a person’s unique exposure to different styles, cultures, and social contexts.

There are several reasons why a large number of sitarists are gravitating toward bass-cut instruments:

1. Some players may simply be connected to a tradition that uses sitars without bass strings and continue with this choice.

2. Players who have experienced both sitar with bass strings and bass-cut sitars might prefer one over the other for various reasons:

   a. Technical advantages: One type of sitar might be easier to play or maintain.

   b. Musical advantages: The sound produced by a bass-cut sitar may be preferred for its tonal qualities or for its better fit with modern music styles.

   c. Both technical and musical advantages: A combination of these factors may make the bass-cut sitar a better choice.

   d. Audience appeal: Some players might opt for bass-cut sitars if they believe it enhances their performance and audience connection.

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Question: Are there alternative ways for musicians to connect with audiences beyond traditional social interactions and musical performances? [Dr. Pintu Saha, India]

[Submitted: November 14, 2024 | Responded: November 15, 2024]

This is an excellent question. We don’t think there are alternative methods, but there may be scopes for streamlining these two key areas you pointed out and additional methods.

To effectively connect with the audience, a musician must harmoniously align two key elements: (a) the network of individuals who establish the musician’s public presence and (b) the quality of musical performances that resonate with listeners, fostering musical acceptance. As previously emphasized, building meaningful social connections and delivering well-crafted musical experiences are vital in cultivating the audience’s acceptance of the presented music. While no true substitutes exist for these approaches, additional strategies can be integrated to enhance outcomes.

These additional methods may include: 

1. Leveraging all available media platforms to amplify visibility. 

2. Develop strategies that maximize benefits for all parties involved in the music ecosystem, including: 

   (a) the musician and their team, 

   (b) the audience (listeners and viewers), 

   (c) impresarios, and 

   (d) other stakeholders. 

By ensuring that every group feels they are part of a mutually beneficial scenario, musicians can establish deeper connections with their audience, ultimately leading to sustained engagement and support.

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Question: How can I create time for Riyaz? I wish to do it. I am overly busy throughout the week with my regular job, family time, and additional music teaching during weekends. Please suggest.  – (Priyabrata Goswami, India)

Question received: November 14, 2024 | Responded on: November 14, 2024

It looks like you are very tightly occupied. However, as you wish to create time for Riyaz, here are some practical steps you may adopt.

1. Schedule it like a fixed appointment: Set a consistent time for Riyaz each day, even if it’s just 20–30 minutes.

2. Prioritize time blocks: Identify small windows in your week—during breaks, early mornings, or evenings—and dedicate them to Riyaz.

3. Utilize weekend: AS you are teaching music, use the time before, after, or during music teaching sessions on Riyaz. Even short, focused sessions can be valuable.

4. Incorporate practice into family time: If possible, engage in lighter practice while spending time with your family.

5. Keep sessions short but focused: Prioritize quality over quantity. Even brief, intentional practice is effective.

6. Combine learning with teaching: Practice new pieces or techniques before or after your lessons to kill two birds with one stone.

7. Delegate and reduce non-essential tasks: Look for opportunities to delegate responsibilities to free up your time.

8. Use technology: Apps and tools can enhance your practice, making it more efficient.

Ultimately, treat Riyaz as an investment in yourself and be consistent, even with shorter sessions. Balance is key—small, consistent efforts will yield progress.

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We shall be glad to respond to your questions if you wish to explore or perform Hindustani Raga Music. Your questions and answers will appear on this site. We shall inform you when we respond.

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