subhash inamdar

subhash inamdar

Thursday, February 23, 2012

Dr Arawind Thatte's lecture series

Great first day of The precision,of his approach to the subject, in depth analysis of even the minutest detail and his ability to convey his thoughts to one and all is simply amazing! looking for the remaining 3 days.

Second day@ Dr arawind Thatte's lecture series.
Yesterday was all about the Tanpura, the backbone of our music. He explained very scientifically the nuances of the instrument and its tuning. He lays immense stress on developing our auditory capacities. As only this will make us sensitive to the various shades of ''Swar'' He also explained the Shadja Gram and madhyam Gram and the difference between them
Today he unfolded the vast topic of ''Shruti Swar Vyavastha'', the mainstay of his research. He explained different methods like 'Moorchana'', applying Shadja and Madhyam grams to all the notes in both these Grams.
His concept of the ''Saptak'' is not limited to just 7 notes. He proves that Saptak should be looked on as a continuum consisting of many audibly distinct points
These Swar sthaans or note positions can be knowingly used in various Raags
He proved very logically that the 22 shruti concept which is still prevalent today is a very limiting approach. In fact if we consider a Saptak from Shadja to Nishad, we can get more than 50 shrutis.
His vocal command over the notes was brought to the forefront when he effortlessly demonstrated some note shades raags like Bhairav, Desi, Darbari, Jog etc
Looking forward to the remaining two days!

It was an exhilarating session not only because the subject was so close to us but because it was put forth in a very different perspective.
Those who are not his students or are unfamiliar with his thoughts might find many theories he puts forth, very hard to digest as they clash with their musical mindset.
But those with an open mind, a logical and scientific approach and receptivity, will no doubt be drawn towards these theories.
Today was all about ''RAAG RACHANAA AND RAAG WYAWASTHAA'' How Raags are created and what is the whole system that lies underneath our music making.
Dr Thatte explained the 10 rules of raag He explored each rule to the fullest and did not limit it to a superficial ''Do and Don't''. For example Every Raag besides the Aaroha Avaroha which spans a whole Saptak, can also have partial ascend and descend starting from any note of the original and reaching up or coming down to any other note in the Original. Aroha-Avaroha
He explained the relation between Vaadi and Samvadi and the relationship between the remaining notes of the raag
When he explained about the composition ''Bandish'' he also said that it is possible to create a Raag without the help of a Bandish. That does not in any way mean that a Bandish is unimportant. But just that it is a possibility which one may explore.
When he talked about Raag Vistar or Raag elaboration, he put forth the concept of the Core of a Raag and how artists of calliber can create wider circles around this core and how the Raag grows over time.
He also mentioned the Time theory and his opinions about it.
He explained that there are many unwritten rules about Raags which are passed on or imbibed with observation and riyaz.

Today the subjects were Bandish,Lay Taal, and gayaki Ang and Tant ang and the difference between the two.
About the Bandish he explained what the principle of ''Bandish ke ang se gaanaa'' means. It means exploring the various ideas a bandish propagates and elaborate it along those lines. This includes the musical phrases, the Lay or speed,the words and the interrelation and intricacies of all these aspects. and the optimum limits to which they can be explored..
Then he explained about lay taal and theka and how that can be studied.
The Gayaki aang and tant ang and the difference between the two. He made a very important point that the tant ang has made a phenomenal contribution to music and so the claim that tant ang is inferior in any way to the gayaki ang as some instrumentalists claim to be is highly untrue. Both are unique in their own way and also intersect each other at some point.
The last point was the various possible exercises of increasing complexity that one can do to get a command over Lay and Taal.

Anuradha Kuber.