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Sangeet
Vikas
Sabha
Presents

SVS
eMagazine
25th Sept 2016

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Contents

1. From the Editors Desk Dr. Aarti Dixit

2. Quote - Shloka Dr. Aarti Dixit
3. Concert Review Smt. Vijaya Jadhav Gatlewar Chetan
Vinchhi
4. Interview of Lalit Rao Purvi Vinchhi
5. Concept of Thaat Smt. Madhuri Dongre (Translation by
Sonali Dandekar Tambe)
6. Raag Conversation Bhavik Mankad
7. FAQs about SVS e-Magazine

25th September 2016

Sangeet Vikas Sabha, Pune

From the Editors Desk

Greetings Friends and Music Enthusiasts!

Ganeshs parents, Lord Shiva and Devi Parvati

(Gouri) are associated with creation of some Raags
in Indian classical music. Shree Ganeshas consort

Ganapati Bappa Moraya!

The month of September heralds the
auspicious event of The Shree Ganesh Festival.
While I am writing this, the atmosphere is full of
joy and enthusiasm about welcoming our beloved
Lord Ganesh in our homes.
The

Ganesh

festival

literature. In older scriptures, Shree Ganesha is

portrayed as leader of tribes of Yaksha and Kinnar
(demi gods associated with musical arts). He is
known as Sukhakarta (makes good things
happen) and Vighnaharta (one who clears away

celebration

in

Maharashtra dates back to the reign of Shivaji

Maharaj in 17th century and Peshawa Empire in
18th century with brief interruption during
British reign. The festival was rejuvenated as
public celebration by Bhau Rangari in 1892 in the
city of Pune. Lokmanya Bal Gangadhar Tilak is
credited for transformation of Ganesh Festival into
a major public platform event that brought
different sects of rigid Indian society together in
their struggle for Independence. For the last 125
years, Ganesh Festival is being celebrated with
great fervor and enthusiasm in India and abroad.
Lord Ganesh is a favorite deity of everyone,
young and old alike and is worshipped by Hindus,
Jains and Buddhists. Shree Ganesh is the patron
god of knowledge, creative arts and education.
Every child begins their training by learning to
write Om Shree Ganeshaya
Namaha: (We worship you, O Lord Ganesha!) as
their first letters. It is common knowledge that
25th September 2016

is Devi Saraswati, the Goddess of music, arts and

the obstacles).
No wonder it is customary to praise Lord
Ganesha at the beginning of any auspicious
ceremony

or

new

undertaking,

including

traditional classical art performances. Indian

classical dance performances like Bharatanatyam
or Kathak begin with Ganesh Vandana (Salutation)
or Ganesh Stuti (Praise). Many Classical vocal
singers will certainly include Gajanan salutation
in their recital.
Shree Ganesh has been an integral part of
folk art presentations too. The popular folk arts like
Kirtan (devotional music and storytelling),
Gondhal (Devotional musical performance in
honor of various Goddesses), Tamasha (Pure
entertainment with subtle devotional messages),
Khele and Akhyan (folk art / musicals based on
Ramayana and Mahabharata) in Konkan area, just
to name a few, start with salutation to Lord
Ganesha. He is cordially invited along with his
consorts Riddhi (Goddess of riches) and Siddhi

Sangeet Vikas Sabha, Pune

(Goddess of skill) or in some cases Devi Saraswati

(Personification of AUM) of Ganesh in his abhang,

to attend the performance. The Sutradhar

He states that Lord Ganesha represents the origin

(narrator) along with the team of performers pray

of trinity of Gods responsible for various stages of

to Lord Ganesh humbly to clear all the obstacles

cosmic creation, Brahma (Creation), Vishnu

and make their performance a success. Public

(Sustenance) and Shiva or Mahesh (Destruction).

celebration of Ganesh Festival has created a

prominent platform for performing artists of
classical and folk art forms for decades!

Those of us who sing or meditate, realize

that sound originates from the base of our body
(just above Muladhara chakra). It is empowered in

While trying to look for deeper meaning

the stomach area (diaphragm) and comes out of

beyond the literal interpretation, one cannot help

head (throat or nasal cavity). Muladhara Chakra is

but

(devotional

also supposed to be the seat of Shree Ganesha. He

composition) by Sant Dnyaneshwar who invokes

represents the spiritual force that begins from the

Lord Ganesh as the OM or AUM : A deity who

lower level, clears obstacles to empower human

is considered personification of cosmic sound in a

consciousness to sublime levels. Omkar is used as

combination of A, U and M.

a "tool for meditation". The ultimate goal of

remember

an

Abhang

He refers Akaar (sound of A) as

Ganeshas Charana Yugula (pair of feet), Ukar
(sound of U) as Udar (especially large stomach of
Shree Ganesh) and Makaar (sound of M) as his
Mastak (head). When these three phonetic
components come together, it creates an all-

classical music or any creative art performed in its

pure form is supposed to lead to a state of
meditation for the performer and their audience!
Shree Ganesh personified as OM or AUM is
intimately connected with music and has
permeated our hearts and lives at so many levels.

encompassing sacred sound which is responsible

On a lighter note, another divine voice

for creation of cosmos and represents eternal truth

who has immortalized one of (my favorite)

known as Brahma. The Upanishads (ancient

abhangs I mentioned earlier, Om Namoji Aadya

sacred scriptures of Hindu religion) seem to

(by Sant Dyaneshwar) is turning another year this

uphold this view point.

month, Smt Lata Mangeshkar (born Sept 28). The

While Vedas (oldest set of ancient sacred

scriptures of Hindu religion) especially Rig Veda
describe phonetic components of sound AUM as
stages of cosmic creation also known as Utpatti
(origin), Sthiti ( sustenance) and Laya (Demise) in
a cyclical manner, the Sam Veda (believed to
introduce musical chantings) has attempted to
extract musical meters from AUM. Sant Tukaram
describes

the

Omkar

25th September 2016

Pradhan

Roop

queen of the versatile and evergreen voice, Smt

Asha Bhosale (born Sept 8) is another melodic
voice that continues to blossom! The mention of
Hindustani classical music would be incomplete
without a mention of Swar Yogini Pandita Prabha
Atre (born Sept 13). Indeed month of September
has bestowed these jewels to Indian and world
music. (Late) Pt. Jitendra Abhisheki (born 21 Sept)
and (Late) Pandita Veena Sahasrabuddhe (born

Sangeet Vikas Sabha, Pune

Sept 14) are immortal in the music connoisseur's

interview with a well-known artist from Agra

hearts.

Gharana, Smt Lalith Rao. We hope that the readers

As before, this edition brings you a variety

of articles and perspectives about Hindustani

classical vocal music. These include articles on
Concept of Thaat and Raag Soordasi Malhar.

would find them informative, interesting and

thought

SVS eMagazine always

welcomes readers thoughts and suggestions.

Enjoy!

Among other articles, we also bring you an

25th September 2016

provoking.

Sangeet Vikas Sabha, Pune

Dr. Aarti Dixit (MD)

QUOTE SHLOKA
-

from Sangeet Ratnakar by Sharangdev

Similarly Shrutis are associated with Swar in subtle

S I
II

form but they can be made apparent by the

singers effort.

Vyavahare tvasow tredha hridi mandrobhidhiyate

Kanthe madhyo murdhni tarow Dwidgunatyottara

II I
I II: II
There are three types of Naad. Naad when situated
at heart is Mandra (Lower octave), middle octave

or Madhya when located in Kantha (throat) and

Tasya Dwavinshatirbheda shravanatshrutayomata

Hrudurdhvanadisanlagna nadyodwavinshtirmataha

when present in Mastak (head or nasal cavity), it is

Taar (higher octave). It progressively doubles in
frequency for higher octave.

There are twenty two vessels or channels (Naadi)

associated with Urdhva Nadi (travels in upward
direction) of heart which lay obliquely from heart.

I: I
I II
Nirashchasnasutavatya shrutayomarutahane
Uchchochtaratyukta prabhavantyuttarottamam

They create progressively higher and higher

shrutis when struck by breath.

Deeper Meaning:
Pt Sharangdev stated that the Naad was a sound

One does not see the route of fish under water

(however it exists in invisible form or channel),
buttermilk contains ghee in invisible form and fire
resides in air without being apparent. However
with some effort one can extract ghee from butter
milk and create fire from wind (Oxygen in the air).
25th September 2016

that originated in the human body at Brahm

Granthi (: situated just below the navel in
microscopic form). It is unique to humans.
Animals cannot create it. The sound made using
instruments is called Dhwani and not Naad. Naad
is divided in twenty two shruti ( ). A shruti is

Sangeet Vikas Sabha, Pune

defined as minute tonal differentiation that is

According to propositions in Yoga, naadis

clearly audible to human ear.

are channels that carry life force or energy

referred to as prana. In the physical body, the

Author states that shruti are associated

naadis are vessels that carry supplies essential to

with swar (SwaRaagt: , seamlessly associated

sustain life, like air (airways, bronchi), water,

with swar). He explains this, giving example of

blood (arteries and veins), bodily fluids (lymphatic

invisible presence of fish in water, ghee in

channels) and neural impulses (nerves).

buttermilk and fire in air. However with some

effort one can extract ghee from butter milk and

Some believe that author Sharangdev had

create fire from wind (oxygen). Similarly shruti

studied Ayurveda (ancient science of medicine

are associated with swar in subtle form and a

practiced in India). Hence he was able to comment

singer can make them apparent by his effort.

of physical aspects of origins of Naad and shruti so

clearly.

Sharangdev believes that humans are

unique in a sense that they can create melodic
sounds. They are capable of creating music

Translated by

without use of instruments. Hence Gayan kala (art

of vocal music) is the most superior form of art.

Dr. Aarti Dixit (MD)

25th September 2016

Sangeet Vikas Sabha, Pune

Concert Review - Smt. Viajaya Jadhav Gatlewar

Bangalore, 28 Aug 2016

~ Chetan Vinchhi

Hindustani Sangeet Kalakar Mandali,

ang, focusing on key phrases encapsulated in it,

Bangalore organized a charming morning concert

and embellishing each one with precise variations

by the Jaipur Gharana veteran Smt.Vijaya Jadhav

that enhanced the beauty of the composition and

Gatlewar. Vijayaji represents the Jaipur gayaki of

leveraged the richness of the Raag. The exploration

the great Pt. Nivruttibua Sarnaik, from whom she

of the middle part of the octave almost always

has received the major part of her taalim. She has

culminated in an avarohi movement to the shadja.

performed extensively and currently heads the

Her thehrav and restraint were reminiscent of her

Gangubai Hangal Music Academy at Hubli,

Gurus gayaki without seeming like a copy. There

Karnataka. The venue was the beautifully situated

was a languorous but definite progression as the

Gokhale Institute of Public Affairs. After brief

alaapi led up to the taar shadja and the antara.

opening remarks, the artists were introduced. Sh.

Vyasmurti

Katti

provided

harmonium

accompaniment. Sh. Keshav Joshi was on the tabla.

Vijayajis

disciple

Smt.

Meghana

Kulkarni

provided tanpura and vocal support. Vijayaji took

center stage, a picture of simplicity and humility.
Some of us in the audience had already
heard the strains of Alhaiya Bilawal coming from
the green room. It brought to mind one of Vijayajis
first commercial albums in Music Todays Young
Masters

series

that

included

this

Raag.

Anticipation sharpened as Vijayaji started with a

crisp alaap that traced a succinct outline of the
delightful morning melody. She then launched the
vilambit teentaal khayal are aa re kanhai. She
meticulously sang the bandish and started the
alaapi. The Raag was elaborated from the bandish
25th September 2016

The development of the asthayi was

perhaps a tad short. Vijayaji did full justice to the
exploration of the antara. She filled the badhat
section with beautiful behlavs, slow taans, and
frugal usage of bols. She used variations of laya
within the structure of taans very creatively to

Sangeet Vikas Sabha, Pune

exploit the expressive potential of the Raag. Pauses

alaapi opened up the melodic potential of the

and breath were used aesthetically to create

Raaga, the cheez naturally took on the contours

tension that resolved with the aamad of each sam.

and colors of the Raaga. The drut teentaal dauri

The jod was the canonical kavan batarariya gailo

jaat piya ke milan ko was a fascinating

in teentaal. Vijayaji seemed to relish the words and

composition and Vijayaji allowed herself luxuriant

the structure of the bandish itself as she played

and extensive taankari, to great effect. This was

around with it for a while before opening up for

projected as a sort of crescendo of the

the signature Jaipur taans. She created filigree

performance, and was very well received by the

structures literally out of thin air. Her breath

audience.

control and taan variety were excellent and

provided a pulsating climax to the opening Raag.

A brief vote of thanks, and then there was

a request for a Bhairavi. Vijayaji obliged with a

After the briefest pause to acknowledge

deepchandi thumri naahak laaye gawanwa. We

the audiences enthusiastic response, Vijayaji

were pleasantly surprised by the mature and

started Vibhas (shuddha dhaivat variety). It was an

structured development of the thumri, staying true

apt choice to contrast with the brightness of

to the romanticism of the form. The thumri was

Bilawal just concluded. The alaap was once again

presented in the Benaras/Purab style and involved

succinct and precise. The khayal was the

fine bol work to highlight the lyricism of the

celebrated mora re, set to a dheema roopak. The

composition. The shuddha nishad and shuddha

evocative two-word approach to the sam of this

dhaivat made a couple of intriguing cameos and

beautiful bandish lends itself to great variety of

receded into the background, leaving the Bhairavi

improvisations and Vijayaji exploited it to the hilt.

intact and complete. The laggi was brisk and

Her voice had warmed up to a richness and

appropriate, and as Vijayaji wound down with the

fullness that allowed her to plumb the depths of

asthayi, the audience broke into spontaneous and

the melody through the vehicle of the bandish. The

thunderous applause. The artists satisfied smiles

alaapi was superb and the badhat included

said it all.

scintillating taans that culminated on the open

sam of roopak. The drut cheez patiya patikava
more piya in teentaal was sung to a brisk laya and
was adorned with even more breathtaking taans.
This was surely the pice de rsistance of the
performance!

Vijayaji provided generous space to the

accompanists to show their mettle. Vyasmurtis
harmonium accompaniment was restrained and
supportive. His understanding of and adapting to
the gayaki of the main artist is always excellent. He
filled the spaces provided with great finesse and

The lovely Vibhas was followed by a more

depth. Keshav Joshi on the tabla provided able

restrained Vrindavani Sarang. The main cheez was

support that was mostly sober, peppered with

a Madhyateentaal composition Tapan laagi ghar

tasteful pieces when opportunity was given.

par. It was an unfamiliar composition, but as the

Meghana is gifted with a supple and melodious

25th September 2016

Sangeet Vikas Sabha, Pune

voice and her vocal accompaniment was very well

embodiment of that hallowed tradition. She brings

received by the audience.

her own unique interpretation to it while

Vijayajis singing has matured very well

since the Young Masters days. She has imbibed the
essence of Nivruttibuas taaleem. The overall
architecture of her presentation is reminiscent of
the Guru. Listening to her is akin to viewing his
style

through

the

prism

of

her

artistic

remaining thoroughly grounded in tradition. The

overall effect is very pleasing and highly satisfying.
The current performance left us wishing for more,
with a tiny bit of disappointment that she did not
select at least one anvat Raag. We look forward to
many more performances by her.

temperament. She remains true to her Gharana

and represents a very authentic and complete

25th September 2016

Sangeet Vikas Sabha, Pune

Interview with Smt. Lalith J. Rao of Agra Gharana

-

Purvi Vinchhi

Khansahebs guidance. In this

candid

interview,

she

reminisces about her training

with her gurus, her association
with

stalwarts

of

various

Gharanas, her contributions to

the cause of Classical Music,
and her point of view about the
music.

Historic

perspective

and anecdotes were narrated

by Sh. Jayavanth Rao.
Q. The popularity of classical
music is declining in the
younger generations. What is
being done, and should be
Smt. Lalith J. Rao is one of the foremost
exponents of the Agra Gharana. Her initial
training was from Pt. Ramrao Naik (a senior
disciple of Faiyaz Khan) and she was hailed as a
child prodigy. She paused her musical career to
pursue

postgraduate

level

education

in

Engineering. It was Pandit Dinkar Kaikini, in

Delhi, who successfully helped her to get back to
music and start performing. She continued her
Agra taleem in Bombay, with Ustad Khadim
Hussain Khan, the Agra Gharana doyen. Her
musical

personality

25th September 2016

was

developed

under

done to address this issue?

A. I dont know whether you can say that
popularity is declining, because as far as I know,
even in the olden days, classical music was
appreciated by very few. If you take the general
population, or the people who like film music, light
music vs. classical music, it has always been a very
small minority, may be the same percentage as in
the olden days. It is something that doesnt appeal
to everyone, they are not exposed to it, they dont
know what to expect, how to react to it. There are
youngsters who are interested. Now on YouTube

Sangeet Vikas Sabha, Pune

10

also there is a lot of classical music. But does it help

childhood belonged to the old school. There was

to make people understand? The approach should

hardly anything written. It was mainly an oral

be that you should make them aware of what to

tradition. I just wrote the words of the bandish and

expect, how to appreciate, not just give programs,

yes, Ramraoji did write the aaroh-avaroh but

because that is just listening and it takes a long

I never had to refer to it. The emphasis was not on

time to be able to understand what is happening.

sargams, or on aaroh-avaroh. You learnt the

Raaga as a whole, and I think that is a very

So maybe the approach has to be changed

beautiful way of learning. You dont get involved

to include something like lecture demonstrations,

in the nitty-gritties of the grammar. Yes, if you

not as a class but where you are explaining them

sang something and they felt it went into another

things and connecting to ideas they are familiar

Raaga or that phrase is not appropriate, you would

with, so that they can understand what to expect,

be corrected there. It was a holistic and a very

so they don't think it is boring, going to listen to 1

liberal approach. The best thing was they made

Raag for 1 1/2 hours. The initiative to introduce

you imagine, they taught you how to imagine, how

classical music in schools is good, but what is the

to create. I think that is the essence of Hindustani

standard of teachers? What are their approaches

classical music. It is your imagination, it is your

and their attitudes? Many people who pass their

aesthetic handling of what you want to sing, what

degrees in music are not even able to sing a small

appeals to you, what you think sounds beautiful,

bandish. They are the people who become

what could be made better, and in what way. These

teachers. At some level there has to be stabilization.

aspects, not only from the point of view of notes or

How one can do it, I dont know. Music should be

the Raaga, but the accents, how you pronounce,

made attractive, not just learning paltas and

how you cut, where you give the pauses, where

bandishes, making it more appealing to children.

you give the elongations, these are things that they

However, at least children are being made aware

emphasized. As you sang, it came very naturally,

that there is something like this music. Looking at

you assimilated all these things, imbibed them

it in a positive way, the number of children who

gradually and gently, without even noticing it.

are exposed to Hindustani music is much more,

even in schools with a Western bias. So I am quite
optimistic.

Later you realize this is what they have

taught us, or this is how they looked at things. But
it was never pointed out. It was a very seamless,

Q. Please share some experiences about your

very open sort of teaching process. Whatever I am

gurus, peers, seniors and audiences with our

it is because of (Khadim Hussain) Khansaheb. I

readers.

cant even tell you what a wonderful experience it

A. I learnt from traditional, old Gurus and Ustads.

was to learn from him. Coming from an artist of

Even Ramraoji (Naik) from whom I learnt in

his generation, you would expect them to be quite

25th September 2016

Sangeet Vikas Sabha, Pune

11

rigid. But his approach was wonderfully open. I

to always tell me, just because I teach you

had learnt quite a bit from Ramraoji and Dinkarji.

something which is an aspect of the Gharana, it

Many of the bandishes, naturally being in the same

doesnt mean you have to blindly sing it. You have

Gharana, are the same. Naturally in an oral

to choose those aspects which appeal to you, which

tradition, what happens is, that there are slight

suit your voice. And sing only those, because there

changes. That is the beauty of our music. The

are enough angs of the Gharana that you can still

bandish is the same, the Raaga is the same, but

use. So there was no compulsion at all. You do

there is some individual nuance or some inflection

follow the basic tradition, but it is not a question of

that each artist brings to it, because nothing is

imitating. He gave us the full freedom to evolve in

written. He told me We will not go over those

the way that we want to. I was very lucky in that

bandishes that you have learnt from your other

way.

Gurus, I will teach you the other bandishes that I

know. Add these to what you already know,

Q. What, in your estimation, is the importance of

thereby you will add to your repertoire and get

traditional bandishes in the understanding and

more complete perspectives of the same Raagas.

performance of Raaga music?

It was a totally new approach for me,

A. Bandishes are the most important because

because you expect them to be quite rigid. It was

bandishes give you different perspectives of the

altogether

exhilarating

same Raaga. Suppose I compose a bandish, it is my

experience. As for my being a woman singer, they

view of the Raaga through that bandish. So the

treated me as equal. I have never felt any bias or

more bandishes you know, the better you can

any special treatment or being looked down upon,

understand the Raaga, the better you can

or anything from either seniors or juniors or peers.

understand the nuances, because you cannot

It is because of Khansahebs open-mindedness, I

imagine all the ways that the Raaga can be

had the advantage of knowing many senior

developed. These bandishes are capsules, which

musicians very well, like Nissar Hussain Khan

give you different views of the same Raaga. So, the

Sahab, Amir Khan Sahab, Firoz Dastur, Bhimsen

more bandishes you know in the same Raaga, it

Joshi, Gangubai, Malabika Kanan, A. Kanan,

helps you to understand the Raag better.

Balasaheb Poochwale, Sharadchandra Arolkar,

Traditional bandishes are important because they

Gajananbua Joshi, Nivruttibua Sarnaik, and others

have lasted for such a long time. But that doesnt

apart from those that belonged to the Gharana.

mean that new bandishes are not good. Agra

Many of them have come and stayed with me. I

Gharana singers were all composers. Khansaheb

respected them as great Gurus and musicians, and

used to compose, Vilayat Hussain used to compose.

not as musicians of different Gharanas. That was

But they never distinguished, like Khansaheb

because Khansaheb encouraged us to listen to

never taught me only his bandishes. They always

everybody. He said sab ko suno. Khansaheb used

taught the older traditional bandishes, along with

wonderful

25th September 2016

and

Sangeet Vikas Sabha, Pune

12

the ones they had composed. When I first went to

better. It depends on the type, quality and number

Khansaheb, he hadnt composed that many

of bandishes available in that Raaga. All traditional

bandishes. So I said to him aap bandishein kyun

bandishes are not excellent. Even some ordinary

nahin

compose

ones have got carried forward. I personally feel

bandishes) So he said pahle tum jo gharanedar

that one cannot generalize and say that only

bandishen hain unko sikh lo phir hum banayenge.

traditional bandishes are good, because it may

Hamein banane ki zarurat hi nahin padti hai, kyun

infer that the present day bandishes are not as

ki itni sundar purani bandishein hain (First you

good. Even today exquisite bandishes are being

learn the gharanedar bandishes, then we shal

composed, and artistes are as creative as they were

compose. We dont need to create new bandishes,

in the olden days. It is up to us to sift through them

since there are so many beautiful old ones)

and choose those that appeal to us.

banate?

(Why dont

you

Sometimes he taught me Raagas which had only a

But why did those bandishes get carried

vilambit and no drut bandish. So I would request

forward? They used to learn them, repeat them, try

him to compose a new drut bandish. He had

to remember them and pass them on. Nowadays

composed a few before, but after I came into

people dont have the time to learn them like that,

contact with him, many of them were composed in

to repeat them. I remember Balasaheb Poochwale

my house, or he would go home and bring it the

telling me about his father Rajabhaiya Poochwale.

next day. But what happens in an oral tradition is

He used to go to office, walking 4 to 5 kilometres

that after 34 generations the older ones may be

each way. When I asked Balasaheb how they

forgotten. You will remember your gurus

managed to remember so many bandishes. He

bandishes and maybe his gurus. And then you

replied, Jab woh ghar se nikalte they, to

compose some. So you teach 3 generations

bandishein dohrana shuru karte they. From home

bandishes. What about the ones before? Nobody

to office and then again on the way back, he would

has the time to learn everything. So over a period

keep repeating the bandish. That was his habit. So

of time it gets filtered.

you can imagine how many they were able to learn

In those days they didnt have recording

and why they never forgot. He must have repeated

facilities, they didnt use notation. It was all

each bandish hundreds of time. How many times

memorized. But now people are publishing books

dopeople repeat them nowadays? We were not

by the dozens. So its a question of too much

allowed to record. Towards the end of my

information and you dont know what is authentic.

association with Khansaheb, cassette recorders

Khansaheb used to say har ek ki apni jagah hai,

were there. Most traditional Gurus were very

tum unko chhod do, haath hi mat lagao (Everyone

allergic to being recorded. And Khansaheb was

has their place, you leave them, dont touch them).

very particular. He said iska notation banake mat

I have followed that principle. I dont know if

rakho. (Dont record this notation) I said kyun

particular bandishes help you understand a Raaga

Khansaheb? Agar main bhool jaaun (Why,

25th September 2016

Sangeet Vikas Sabha, Pune

13

what if I forget) isiliye main bol raha hun! So

Raaga and the tala have not been compromised,

learn it such that you will not forget. Many people

then why should it be wrong? Its an oral tradition

asked me whether I had notated them at home. I

and

replied in the negative. This is because I feel that

inflections, changes are bound to creep in. Thats

the Guru Shishya mutual trust has to be complete.

what makes it so beautiful. You can hear the same

Unless we give the Guru the complete faith that we

bandish 100 times, each time you will hear some

are following his directions totally, without any

different inflections, different accents, and that

restrictions, that connection is not made. Even if

makes it come alive. Thats the way I look at it.

from

generation

to

generation

small

there is a connection it is not perfect. Yes, I have

forgotten a few bandishes, some Raagas. I

Q. You have been a supporter of preserving and

remember most of the bandishes, because I didnt

propagating classical music as encompassed in

write them down, I made the effort to remember

traditional bandishes. Can you elaborate your own

them and keep them in my memory. I had a

contributions for the Archival project at ITCSRA

passion for learning the lesser known Raagas,

and other such initiatives, and what more needs to

bandishes that were not sung often. But I don't

be done?

think that the fact that I have forgotten some

A. In SRA they had initiated the Ford Foundation

Raagas and Bandishes matters in the long run. The

Bandish Archival Project. I think I may have been

relationship that I had with Khansaheb more than

chosen because I knew many of these senior

makes up for all this nobody ever sings and nobody

musicians very well. I was lucky that Vijaybhai

ever hears many of these Raagas and bandishes. I

(Vijay Kichlu) thought I would be able to handle

do feel sad that something beautiful that I had

this delicate job of archiving the traditional

learnt has been forgotten.

compositions well, and it was a wonderful

Nowadays many people keep books in

opportunity for me. In addition to getting to know

front of them when they perform. They are

the musicians, I could listen to them singing all the

flipping pages and singing. Surely if you are

bandishes. I did record quite a few bandishes. I

performing on a day, you can at least remember

recorded 200 compositions of Arolkarbua, 100

those bandishes. If you need to refer, that means

each of the Gurus Ramarao Naik, Firoz Dastur,

that you have not internalized them. If the guru

Naina Devi, Yeshwantbua Joshi, Limaye bua,

feels its okay, who am I to say anything? I believe,

T.D.Janorikar, Balasaheb Poochwale and Ratan Pai.

that one cannot think that someone has sung a

Ustad Nissar Hussain Khan was at SRA, and he did

Raaga or a bandish wrong, or that it should be

sing a few bandishes although he was 80+. I also

sung only in a particular way. As far as possible

interviewed Ustad Khadim Hussain Khansaheb. He

one should adhere to the composer's version,

had paralysis at the time, so he could not sing. I

because it is his perspective. However, if one has

also interviewed Pandit Mallikarjun Mansur,

learnt it in a particular way, and as long as the

Wamanrao Sadolikar and Ustad Aminuddin

25th September 2016

Sangeet Vikas Sabha, Pune

14

Dagar. From the Khurja Gharana the grandson of

Prakar, Todi ke Prakar, Sarang ke Prakar, Kalyan

Ustad Altaf Hussain came from Pakistan. I went

Ke Prakar, and Malhar ke Prakar. The project

and met him in Delhi. He said mera gala kharab

remained unfinished as Madhubhai passed away,

hai, agle baar karunga (My throat is not in good

and the trust was closed. Later their collection was

shape, I will record next time). But then he passed

given to Saptak. For AIR Bangalore, I have recorded

away. Yunus Hussain Khansaheb said he will

a 13 episode series, in Kannada, of one hour each.

definitely record. But he too passed away before he

Here, I have demonstrated the differences between

could

Samaprakrutika

be recorded.

Those were two

lost

opportunities. I also approached Lakshman

Raagas.

It

is

called

"Raagantaranga.

Panditji, but I left the project and Kumarda (Kumar

Mukherjee) continued. I also interviewed some

Q. You are an exponent of anvat Raagas,

musicians for the Central Sangeet Natak Akademi.

specifically those sung by Agra Gharana. For

I used to go to Pt. Dilip Chandra Vedi. He was 90+

example, there is a set of related Raagas Patdeep,

then. He used to live in Old Delhi. He was very

Patdeepaki, and Pradeepaki. Please throw some

sweet. We would discuss something for 23

light on the nuances of these Raagas and variants

minutes. Then his mind would wander. He had not

of these that exist.

lost the fire of his youth entirely. When he talked,

A. They are all hardly sung. There is just 1 bandish

he would cut people to pieces. I also interviewed

in each Raaga. You never sing them in public,

Pt. Mallikarjun Mansur for the Akademi.

maybe only in a small gathering of musically

I interviewed many artistes for Delhi

knowledgeable listeners. These are very similar

Doordarshan like Pandit Firoz Dastur, Balasaheb

Raagas with hairline differences. Each Gharana

Poochwale, C.R.Vyas, Ratnakar Pai, Prabhudev

has its own way of representing a Raag concept.

Sardar, Yeshwantbua Joshi, and S Balachandar. In

That is the beauty of our Hindustani music - unity

1993, I was invited by the Ethnomusicology

in diversity, and the concept of acceptance of

Department of the University of Washington,

slightly different perspectives of viewing the same

Seattle, to record traditional Agra compositions for

Raaga. How does it matter? As long as you listen

their archives. I recorded over 300 traditional

with respect, when a person sings and you

compositions for them. Then in 2001 when we

appreciate what he sings, viewing it from his

moved to Bangalore, the Rukvipa Foundation of

perspective of the Raaga. We should put our

Ahmedabad wanted me to archive for them.

personal biases aside when we listen. When I

Madhubhai Patel who was running the trust

persuaded him to teach me Anvat Raagas,

wanted me to sing the compositions that I had

Khansaheb would say beta tum is mein kyun

learnt, along with commentary describing the

ghusti ho? (Child, why are you getting into this

various Raagas as sung in the Agra tradition. So I

topic?) But I wanted to learn, because I knew it

recorded for them Bhairav ke Prakar, Bilaval ke

would go away with him. So he said thik hai, main

25th September 2016

Sangeet Vikas Sabha, Pune

15

sikha dunga, magar ye 5-10 minute se zyada gana

mano ji tum mano is similar to Vilayat Hussains

nahin chahiye. (Okay, I will teach you, but these

jaao ji tum jaao. These Raagas are so limited in

are not to be sung for more than 5-10 minutes.)

their structure that you cant do too many things.

He further instructed not to sing taans in them. If

So there is one bandish and thats about it. If you

you sing taans in Raagas with hairline differences,

do more you may go into another Raaga. That is, if

it is not possible to keep them apart. So you give a

you are aware of other Raagas. If you are not

sort of an outline. Its just the imagination a person

aware, you can happily sing anything. You are

had on that day and they created a tune or Raaga

happy, and the listeners are also happy because

and composed a bandish in it. But these musicians

they think you are doing wonderful things, and

valued what their ancestors had created and

you think its wonderful but you may be straying

composed, because it has been preserved and

into different Raagas. So I always told Khansaheb,

passed on. That is what I appreciate about the

Aap ne ye mushkil kar diya. Ye sab itni bandishen

traditional Gharanas Gwalior, Agra etc. Whatever

aur itne Raaga sab sikhake (You have made this

their ancestors composed and created, they valued

difficult, having taught me all these bandishes and

it, and they treasured it. So they learnt it, and

all these Raags). He would say Tabhi to maza aata

taught it. The basic elements are respect and trust.

hai na (Thats when it is more fun!).

Without them, our music cannot be passed on and

cannot survive. Very little of the old knowledge has

Q. I had the pleasure of attending Panchrangi

survived. How many people are singing more than

Raagon Ka Guldasta, which was also presented at

15-20 Raagas? Many of the Raagas are

NCPA in Bombay and received great acclaim. Our

disappearing. How many people sing Hameer,

readers would like to hear from you about the

Kamod, Shankara. You only hear NatBhairav, Ahir

concept and the vision of this program.

Bhairav, Jaunpuri, Marubihag, Shuddha Kalyan,

A. The motivation for this was to highlight the

Puriya Dhanashree and a few other popular

vision of the people who created Raagas. I took a

Raagas. Nothing more than that.

set of Raagas with S R G P D, and keeping G

shuddha, only R and D changed. Look at the

Q. Which are your personal favorite bandishes in

imagination, Bhoop, Shuddha Kalyan, Deshkar,

other rare Raagas like Saarnat, Lachari Todi,

Jait, 2 types of Jait Kalyan, 2 types of Vibhas,

Mirabai Ki Malhar etc. that you would like to

Malavi. When I teach my students, I give them a

share?

broad outlook of all this. How do you inspire them

A. Many of these Raagas have only 1 bandish, so

to learn and imbibe, internalise and understand all

there is no question of favorites. If you want to sing

this? The commentary gave the outline of each

that Raaga, you have to sing that bandish,

Raaga, its differences with the Samaprakrutika

otherwise make your own. I am not interested in

Raagas, and the compositions were not restricted

making my own. In Saarnat, Khansahebs bandish

only to those of the Gharana. There was also taal

25th September 2016

Sangeet Vikas Sabha, Pune

16

variety roopak, ektaal, dhamar etc. Look at the

support them. Then Aurangzeb came and banned

variety, the imagination, the creativity. It was to

music. There was a suburb of Delhi called

highlight the wonderful treasures we have

Gondpur that was given to Haji Sujan Khan by

received.

Akbar. His descendent Dayam Khan Nauhar or

I have done a project for our Chitrapur

Saras Rang was a musician in Aurangzebs time.

Math. There I have taken different compositions

He went and settled in Agra. His son Shyam Rang

from different Gharanas and not restricted them

or Qayam Khan did not add Nauhar to his name.

only to the Agra Gharana. So their perspective also

Based on many discussions, it seems that it is at this

becomes broad. We have done Agra Gharana Ek

time, when the Nauhar bani ended and the term

Vatavriksha. Musically tracing the complete

Agra Gharana came to be used.

history from Haji Sujan Khan (Akbars time) till

Transport and communication were poor

today. This included compositions from all the

in those days. So these people were isolated in their

eras. This also included works of Haji Sujan Khan,

respective places. They learnt from the treasure

Shyam Rang, Saras Rang, Faiyaz Khan, Atta

handed down to them and added to it using their

Hussain, Vilayat Hussain, and Khadim Husain,

own imagination and creativity. Nobody else had

right down to Yunus Husain and their various

access to it. Maybe they also felt insecure. It was a

disciples,

question of survival for them. So they developed

complete

with

power-point

presentation. All of us sang different compositions

their

own

characteristics

or

styles.

Those

of the Ustads, in different taals, solos, duets,

characteristics got highlighted over time and then

choruses, making it as complete a learning process

a Gharana emerged. A Gharana means 3

as possible.

contiguous generations. I remember Khansaheb

telling me there were continuous invasions and

Q. How did the transition from Nauhar bani to

unrest. Maybe they did have voice culture, maybe

Agra Gharana happen?

they had notation, may be they had theory of

A. In those days there were Dagar, Khandhar,

Raagas. But today you are here. Tomorrow the

Nauhar and Gobarhar banis. We dont know what

hordes are coming so you run away somewhere.

they were. Bani means language or voice or

What do you stick on to? You stick on to the

speech. Dhrupad was sung by all banis. Maybe

bandish that encapsulates everything else.

there were certain singing characteristics, voice

Khansaheb told us how their ancestors

production etc. similar to Gharanas, which

had to flee from Gondpur. In 1857, there was the

distinguished them from each other. Akbar

first war of independence or the sepoy mutiny. His

encouraged music and the fine arts and the

grandmother (sister of Daras Piya of Attrauli) told

exponents/artists all went to Delhi. Many of them

him this. They had to throw everything in wells

became Muslims for the sake of support from the

their books and other belongings and run. Chopdi

court. Jehangir and Shahjehan continued to

mein jo sab purani bandishen aur sab likha hua

25th September 2016

Sangeet Vikas Sabha, Pune

17

tha, woh sab kuen mein daal ke ham sab bhaag

of it was handed down from generation to

gaye. (We had to throw all the books that had the

generation orally. Khansaheb used to say ham

old bandishes written down, into the well, and run

anpadh hain, hamein likhna nahin aata. Tum

away). So you can imagine, under such

dekho aur pachas saal ke baad jo likha hai wohi

circumstances, the most precious thing will be the

sahi hoga aur hum sab ghalat niklenge. (We are

bandish. They must have thought, Alap, Sargams,

uneducated, we cannot write. You will see that in

taan, voice culture sab baad mein sikha jayega. Jab

50 years, all that is printed will turn out to be

tak bandish hamare pass hai, hamara Gaana

correct and all of us i.e. oral traditions will be

surakshit rahega. Lambi sans aur khuli awaz mein

slowly forgotten.)

Gaana chahiye. (Alap, Sargams, taan, voice

culture could all be learnt later. Till we had the

Q. You are a great inspiration to the current

bandish with us, our music would remain safe. We

generation of classical singers. What message

have to sing with extended breath and open voice.)

would you like to give them, and our readers?

They must have had knowledge of voice culture,

A. I feel the future is positive. Learn whatever way

because they knew how to throw their voice and

you can, making use of the modern facilities

sing in front of 3000 people. They brought in

available to you recordings, Internet, YouTube,

emotions. They could sing for 56 hours. If they

books, etc., but don't forget the tradition. The

didnt have voice culture how would they do that?

polishing and finishing has to done by a Guru. The

I think it is a fabulous statement of how much they

most important is dedication, trust and confidence

valued their music. Also, they preserved all

in the guru. To become a performer, a guru is

bandishes, not just their own. Even the Hindu

irreplaceable.

compositions were kept alive after converting to

important. One can learn the technicalities on

Islam. There are equally beautiful compositions on

ones own, but the inflections, the emotion of the

Muslim saints, peers, and Allah etc. They could

Raaga, the soul of a bandish, the art of performing,

have just taught that. But no, their valued these

all these can only be learnt at the feet of the Guru,

compositions handed down over generations. Most

with total faith and dedication.

25th September 2016

Sangeet Vikas Sabha, Pune

Personal

interaction

is

very

18

Concept of Thaat - Part I

~ Madhuri Dongre

Music is the finest of the fine arts. This is

an art form where a lot can be expressed with

immortal notes but with very little help from much

else. The word music is used in a broader sense. It

includes vocal music, instrumental music, and

dance. In Indian classical music, vocal and

instrumental music can be considered as Raag

Indian classical music history is divided into 4

major time periods

music. Raag music was born with the fusion of

sacred music (Margi sangeet) and local folk music.

Pre-ancient time 2000 to 1000 BC

Ancient time 1000 to 800 AD

Medieval time 800 AD to 1800 AD

Modern time 1800A AD to date
Thaat

type

of

classification

system

It is a unique music of India.

originated in the medieval time. This time period is

(swaras). The word Raag is first found in Matanga

considered a golden time of music and 1300 AD

Raag is a beautiful embodiment of notes

Munis book Brihaddeshi written in the 6th

century. One can estimate that the Indian music by

way of Raag compositions got invented before this

time. Since then, because of the Raag composers

innovation, talent and changing taste of the
listeners, more and more Raags kept on getting

composed and were added to the repertoire of the

Raag music. The musicologist then found a need to
classify the Raags to make them easier to

understand. So the classification was done based

on either the number of notes in the Raag, the

mood of the Raag or the time of the Raag etc.
Thaat is used to classify Raags in modern times.

Before we discuss the concept of Thaat, its

rules, and the advantages and disadvantages of

Thaat, let's first think about why this method was

promoted and by who. For that, we have to take a
brief look at the history of Indian classical music.
25th September 2016

divided into 2 sections. 800 AD to 1300 AD is

to 1800 AD is considered a time of progress for

music. Thaat method of classification was born,

established and gained popularity in this time

period. Following is a list of books that were
written during this time period.
Name of Book

Author

Thaat Number

Raag Tarangini

Pt. Lochan

12 Mel

Swara, Mel Kalanidhi

Pt. Ramamatya

20 Mel

Kalanidhi

Pt. Kallinath

--

Raag Manjiri

Pt. Pundalik Vitthal

19 Mel

Raag Vibodh

Pt. Somnaath

23 Mel

Sangeet Darpan

Pt. Damodar Mishra

--

Sangeet Parijaat

Pt. Ahobal

Mentioned

but

not promoted
Hridaya Kaustubh

Pt. Hridayanarayan

13 Mel

Anup

Pt. Bhavbhatta

20 Mel

Raag Tatva Vibodh

Pt. Shrinivas

20 Mel

Chaturdandi

Pt. Vyankatmakhi

72 Mel

Ratnakar

Prakashika

Sangeet Vikas Sabha, Pune

Sangeet

19

An overview of these books shows that Pt. Lochan

south and north India. Either way, we know that

classification. Except for Pt. Kallinath and Pt.

India.

was the first one to promote the Thaat concept of

Damodar Mishra, all other pandits have promoted

this method was adopted by 17th century all over

Let us explore what Mukkam idea is.

this idea. Pt. Lochan used the term Sansthan for

Mukkam is a group of notes out of 12 notes in an

most pandits agree with the classification as a

Veena players used this method to classify Raags.

Thaat and Pt. Ahobal used the term Mel. Although

concept, the number of Thaats is still debated.

The time when Thaat classification system

was introduced and promoted, India was under

Muslim rule. There was no central rule in India at

the time. Many smaller states were fighting

amongst each other. There was a lot of fear in

peoples minds at the time. Many artists and
intellectuals moved their books to south India

because they feared the destruction of the art and

books by the invaders. The political, social and

economic situation in India changed drastically at

this time. By the 13th century, the new rulers

culture was completely adopted in north India.
Literature, architecture, music and other arts, as

well as the social life at every level, showed the

influence of the culture of the rulers. Thaat method

of classification spread at this time. According to
Vasudeo Shastri, during the 14th century,

Vidyaranya Swami introduced this system in the

south India. He named the muslim Mukkam idea

as Mel. After the establishment of Vijay Nagar

Empire, the available 50 Raags were classified into

15 Mels. He is thus considered an author of the

Mel system. Some pandits believe that during the

rule of Alauddin Khilji, many musicologists from

Braj, Avadha, Gujrath and from south India came

together in Delhi. After an exchange of ideas and

opinions, the Indraprastha opinion or idea was

finalized. Sufi devotee Bahamuni Sultan took this

idea to Gulbarga. This idea influenced the Vijay

octave that is used in any particular Raag. Muslim

Muslim artists used the same method to classify
Indian Raags. Pt. Kallinath notes that Mel, Thaat,

Sansthan, Mukkam are interchangeable words. So

one can understand that Thaat and Mukkam are

conceptually same ideas. Now let us see the reason

this method was adopted. Within Muslims, the

Maulavis

and

Kazis

considered

music

unacceptable. But the other muslims such as

Chishti and Surhavardi sects of Sufi saints adopted

Indian languages and lifestyle and spread the

music through the local languages. Thus Hindi

became prevalent in music. Sanskrit pandits called
Hindi Turshka Bhasha. In north India, it was

called Dakhani Hindi. Due to the Sufi saints

efforts, Hindi compositions were sung. Later with

Muslim influence, more and more Raags were

composed and the presentation style of Raag also

changed. The theory part of music was also
influenced. The most important change in the

theory of Indian music during Muslim rule is the

adoptation of Thaat method of classification of
Raag.

Thaat method became popular due to following

reasons-

1. This system was easier than the ancient

method of classification called Grama

Murchana.

2. Muslim rule and culture influenced the

system.

Nagar Empire. So the Mel method got adopted in

25th September 2016

Sangeet Vikas Sabha, Pune

20

3. Hindustani musicians had the tendency to

keep the knowledge to themselves and not

pass it on to others.

4. Muslim musicians persistently spread

their message.

5. Hindustani musicians were complacent

about their music.

the most popular method of classification. In our

next article, we will discuss the major players and
promoters of this system in modern times.

The classification is based on the 12 notes and their

Iranian names are as follows:

Acharya Brihaspati in his book Muslamaan aur

Sangeet (Muslims and Music), has accurately

analyzed the reasons why the Thaat method took

hold in India. He says, Music continues to evolve

with the tastes of the population. So even if

Muslims had not invaded India, the music of India

would have changed anyway. But the major
influence of Muslims on the Indian music is the

Iranian way of classification of Raags. The main

reason for this was the Hindu musicologists did not

want to let the Muslims have the knowledge of

ancient Graama method of classification. Amir

Sa Rasta

Re Shahanava
re Doka

ga Kurd

Ga Seeka

Ma Giska
Ma Hijaj
Pa Nava

dha Hisar

Dha Huseni
ni Aganu

Ni- Nim Mahur

Khusro was not interested in learning this method

and Gopal Nayak was not interested in teaching it

to them either. As a result Grama method was left

Translated by
Sonali Dandekar-Tambe

behind and Mel method took hold. Today this is

25th September 2016

Sangeet Vikas Sabha, Pune

21

Raag Conversation
-

Bhavik Mankad

Raag Soordasi or Soor Malhar is among

Sarang and the Malhar Ang. A few musicians call

the popular variants of Malhar today, performed

it a mixture of Vrindavani Sarang and Malhar, but

widely across all Gharanas. Two versions of its

the emphasis on Madhyam in phrases like

origin are found. According to one, this Raag is

RmPnDP, mRm-- or nSR^PmRm--^R clearly

believed to be a brainchild of the blind saint, poet

depicts the shades Madhmad Sarang.

and musician Soordas, who lived in the 15th -16th

Century AD, and is famous for his devotional

The Malhar Ang is usually considered to

be R^P and

compositions
dedicated

nDNS.

to

While

Lord Krishna.

former could

Another belief
is

that

Raag

be

this

this

by

latter

one

of

bare

of

minimum. The

the

princely states
of around the same era. Nevertheless, it is worthy
of mention that the Raag was created in the
medieval/post-medieval times and is quite popular
among practicing musicians and connoisseurs
today.

should

be restricted to

court
musician

Raag,

usage of the

Nayak
Soordas,

used

abundantly in

was

created

the

usual practice
to approach the Taar Shadj, is through a simple m
P N S. A lot of compositions have their Sam on the
Taar Shadja, through a very catchy throw from
Madhya Shadj to Taar Shadj (m^RN S, S),
indicating the dominance of Uttarang (upper half
of the octave) of the Raag.

As far as the structure goes, it can be said

that this Raag is a combination of Madhmad
25th September 2016
Sangeet Vikas Sabha, Pune

22

It is interesting to note how Ustad Khadim

is another factor that confirms the absence of

Hussain Khan, the Late Agra veteran, treated

Vrindavani Sarang in the constitution of this Raag.

Malhar and the Sarang Angas differently within

the same set of notes, but through different
Ucchaar (pronunciations). According to Khan
Sahab, Malhar Ang can be depicted through m^R
(S) N, while Sarang Ang uses m^R, SRSN. It is
the former phrase that is used in Soor Malhar. This

25th September 2016

The special identity of this Raag lies in R

m P S n D, m P n D P. The Dhaivat is taken as in
the Sorath Ang (akin to that in Raag Des). The
usage of these notes is not static, but with gentle
touches of the adjacent notes.

Sangeet Vikas Sabha, Pune

23

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Sangeet Vikas Sabha, Pune

24

EDITORIAL TEAM
Pradipta Chaudhuri
Anjali Malkar
Anjali Dani
Ashwini Gokhale
Dr. Aarti Dixit
Manasi Joshi-Singh
Purvi Vinchhi
Sonali Dandekar-Tambe
Sameer Bildikar
PROOF-READING
SUPPORT
Rashmi Patwardhan

25th September 2016

DESIGN-TECH
SUPPORT
Manasi Joshi-Singh
Abhishek Kulkarni
Ankur Mankad

FINANCIAL ADVICE
Abhishek Kulkarni
Anjali Dani
*Original art-cover & Ganesh idol by
Manasi Joshi-Singh

Sangeet Vikas Sabha, Pune

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