Jugalbandi

I performed with Nicolas Buff (Saxophone) and Pandurang Torvi (tabla) at the Temple in Melbourne. We played Raga Gorakh Kalyan in Jhaptaal (10 beats) and Teentaal (16 beats)

We had no time to meet and practice, so resorted to sending each other sound clippings recorded on the phone ! The composition below is originally from sarod maestro Pandit Buddhadeb Dasgupta as communicated by his senior disciple sitar virtuoso Pt Sugato Nag…. I’ve played the full composition including the antara, which is usually missing in other recordings of this piece.
Gorakh Kalyan (a raga with a curious name since it has no obvious relationship with the Kalyan group of ragas such as Yaman Kalyan, Shyam Kalyan, Shuddha Kalyan or Puriya Kalyan) is a raga of peace… and is especially suited for the sarod.

Here is a small clip of the performance: (pls excuse the sound quality)
Due to the acoustics of the venue, the sound is raw.

New compositions: the art of mulling over things

At a recent concert by a visiting vocalist  (Shri Kuljit Singh Sangar), he sang a fast 16 beat composition in Bageshri. I heard it and then went about my own business, but the composition stayed with me mentally.

A few days later, I was able to take the gist of the composition and translate it to the sarod.  I initially thought I’d come up with a new composition based on the above khayal, but later on it turned out that I had actually made a similar composition with a similar structure.

Here is the composition: This is a good example of how compositions can emerge based on mulling a raga over in your head:

Next step: to compose a matching antara…..

Excerpts from a recent concert

First post for 2016… have been away for some time ..

Here’s a post from a recent concert….raw audio/video…

The setting was in a private residence in a beautiful part of Melbourne called Eltham… and it had a resident peacock which kept calling out at times..

I have added some description of the content sequence in the Youtube video notes…

Sound Production on the Sarod: Some Perspectives

I recently had the opportunity to discuss sound production as a subject with senior indian classical instrumentalists.

Discussion on sound production in the context of Indian Classical music has been very limited – Indian classical music discussion seems to be limited to unstructured discussions with very little “shop talk” among the musical fraternity on any operational issue that they face.
For an active musician, sound production is probably a huge topic by itself. However, an objective discussion is not possible on this topic, given that the product itself cannot be well defined. And to me, that’s perfectly ok, as the whole topic of music is by its very nature, a human experience. So much of what follows recognizes the subjective nature of the topic – the idea is to stimulate thinking, and share ideas, rather than come up with a definitive model.
Our key topics for discussion were:
1. How important is sound production?
2. What makes for good sound production?
3. What are some operational considerations  re: sound production especially for a practicing musician?
The outcomes and consensus items are discussed below.
Sound production remains one of the most critical tools to enhance the entire experience for both listener and artist. The sound is essentially what the performer  is “selling” to the audience.
Sound production consists of :
1. The primary source : say the instrument or the voice
2. Secondary devices: amplification, recording or sound distribution devices.
Leaving the second category alone for the moment,  let’s consider the primary source: the voice or instrument.
My particular point of interest is the instrument (sarod), so let’s further restrict our discussion to this one instrument.
As our discussions with the maestros progressed, several key points were recognised:
1. Sound production is very individual – two people can pick up the same sarod, and produce very different sounds, playing the same notes. I have first hand experience of this, with Ustad Amjad Ali Khan.
2. Attention to detail in the technique plays a huge role in sound production. Especially on instruments like the sarod, with infiinite nuances of sound possible due to the construction of the instrument as well as the playing style, attention to detail is fundamental to improving one’s sound. As instruments have become more refined compared to older variations, the fingering and stroke technique is vital in producing the desired sound effect.
3. There is no “right” sound by itself, however, clarity, tunefulness, volume and space play a vital role. The exact combination of these  is left to the performer. Silence, or space is also very much a part of the sound.
4. In turn, the technique needs to be modified to achieve one’s desired sound. If you wish to emulate Ustad Amjad Ali Khan’s sound, clean picking and smooth string changes without  noticeable loss of volume is a pre-requisite. This can be achieved to a degree with good scale practice, but the final ingredient remains elusive (this is why his disciples sound similar, but not exactly the same as him – the X factor !)
5. The musicians I spoke to summarised all these factors into one word : the musician’s “touch”. The touch is the total package of the sound production technique.  Each person needs to  develop their own touch. This takes years of study, reflection and practice to develop. Musicians often spend decades developing their final, unique touch, which is their hallmark.
The starting point of a good “touch” is tonal accuracy. This is incredibly hard to do. Even the greatest maestros have some tonal imperfections (however, senior maestros have an error rate of six sigma or less !).
Which then takes me to the next point- how do you maintain tonal accuracy if you are deliberately focussing on it? In a 3 hour concert, you cannot focus on every microtone at all times- your creativity and spontaneity will be impacted by this. The answer, as discussed by the maestros is that there is a point of technical mastery in which the instrument becomes an extension of the person. Basic technical accuracy then becomes a given. Yes, the finer points do merit special consideration, but the artist is almost running on rails as far as tonal accuracy is concerned. In that situation, the only risk is if the artist is attempting something which is highly complex or intricate. Say a “murki” (a type of embellishment) which is hard to execute. The maestros felt that with practice, these can be overcome to produce a consistent level of performance.
The key takeout for me was to focus on the attention to detail in each and every microtone and to make better use of space in my practice to further develop my desired sound and to constantly record and review my own sound to keep improving it continuously.