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Samvad (Conversation)
Deepak
Ram: Bansuri
Ustad Tari Khan:
Tabla
Bhavani Siegel: Tanpura
All Tracks Published by Seher Music Publishing ASCAP
Producer:
Deepak Ram
Executive Producer: Ates M. Temeltas
Recorded on July 25, 2004
Sound Engineer: Robin Livingston
Studio: Conscious Sound Productions, San Rafael, California
Graphic Design: Siir Özbilge - imge.net
 
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About North Indian Classical Music
Indian classical music is based
on the exploration and improvisation of two musical entities (melody and rhythm)
within very strict guidelines. Melody is governed by the Raga system while rhythm
is governed by the Tala system.
 It
is extremely difficult to describe Raga; it is often compared to a mode, tune,
or song. While itencompasses these devices, it cannot be confined to any one
of them.
For a group of notes to be classified as a Raga, it must
satisfy some basic rules:
1. It must have a defined ascending and descending pattern
(like a scale) of no less than five notes. The ascending pattern may be different
from the descending one, and it often is.
2.Within these notes, there is a hierarchy: The Vadi, or
king note, which is the most important; the Samvadi, or queen note, which is
second in importance; and the Anuvadi, which are minister notes.
3.Each Raga has its own characteristic phrase (Pakad), or
motif, that is made up of the important notes. This is often referred to as
the "key" of the Raga.
4.Each Raga has a designated time for performance: early
morning, late morning, midday, etc. Early morning Ragas, for example, usually
have flattened seconds and flattened sixth notes.
These guidelines and rules channel the musician's creativity
as they expose and develop Ragas in performance.
The rhythmic aspect of Indian music is defined by the Tala system, as Raga defines
the melodic system. A tala is best described as rhythmic cycle with a specific
number of beat-units called matra. Each tala has within it three stresses, with
varying levels of intensity. The main stress occurs on the first beat of the
cycle, called (SAM). A second, less intense stress occurs within the cycle(TALI).
Then, there is a negative stress, called (KHALI),where a stress is deliberately
avoided
Before a student begins to improvise, he or she learns many
fixed compositions in a few Ragas and Talas for a period of ten to fifteen years.
In this recording you will hear four Ragas and one Dhun (folk
melody), each piece beginning with Aachor-Alap. Alap is described as an unfolding
of a Raga, which is free of any tempo or meter. The "nectar" is extracted
from each note, then clusters of notes, gradually moving through the range of
the instrument.
An abridged form of Alap is known as Aachor or Aachor-Alap. Following the Aachor,
you will hear a Gat (the only pre-composed section of the performance). A Gat
may vary from one to four cycles of the chosen Tala.
The Recording
The bansuri in this recording uses the note E as the tonic, but I have given
the Raga scales in the key of C for easier reading.
Raga Madhukauns
Ascending/ Descending: C E (Flat) F (sharp) G B (flat) C
Raga Madhukauns begins with an aachor, which is an abridged or shortened alap.
Alap is described as an unfolding of a raga which is free of any tempo or meter.
The ‘nectar’ is extracted from each note, then clusters of notes,
gradually moving through the range of the instrument.
The first composition is set to Rupak Tal.
The second composition is in teental .
Raga Kirwani
Ascending/Descending: C D E (flat) F G A (flat) B C
Raga Kirwani begins with a chhed which a quick introduction to the notes of
the raga, this opening is typical of string instruments such as sitar and sarod.
After chhed you will hear an alap and a short jor (which is an extension of
alap and re-examines phrases in alap but with an un-metered pulse.
The composition here is in medium tempo ektal (note the spectacular accompaniment
by Ustad Tari Khan)
Raga Yaman
Ascending: B D E F (sharp) A B C
Descending: C B A G F (sharp) E D CRaga Yaman begins with a gat in a nine beat
cycle (composition that synchronizes the melody to the tala).
A second faster composition in drut (fast) teental follows, the vistar (elaboration
and improvisation) in matta tal.
Raga Mishra Khamaj
Ascending: B C E F G A B C
Descending: C B (flat) A G F E D C
The word mishra means mixed, and allows the performer to seek out ‘loopholes”
in the raga rules and also introduce notes that do not otherwise belong to the
raga...
There are two compositions in this performance the first is a dhun, which can
be described as an air inspired by folk music.
The dhun is set to a six best cycle. The second composition is a drut teental.
Notes by Deepak Ram
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