Journey of Discovery: Western Music

When it comes to Western music, I'm like a small kid in a candy store. I keep discovering masterpieces and delight in them. Seasoned western classical connoisseurs look at me in disdain wondering why I'm so excited about such staple compositions.

I however, get all excited about my new find, as this music is in many ways the complete opposite of Hindustani classical music. My latest "discovery" is Erik Satie's Gnossiennes No.1 -I found it by chance as I was passing by my TV set which had a movie (The Painted Veil) playing and I heard the composition. I was hooked - I then set about finding out its name. What wonderful music! Kya baat hai !

Here's a Youtube video on this:

Review: Concert by Ghulam Abbas Khan

I recently attended a concert by Ghulam Abbas Khan of the Rampur Sahaswan Gharana. Overall, it was quite good - however, there were too many ghazals for my liking (my Urdu level is intermediate at best, and I could understand most of the shayari - which means that it wasn't that upmarket !).

The only thing I remember is that I had to ask the sound controller to turn down the volume. The hall was such that there was no need for microphones - we were sitting in a small group and the music was way too loud for my taste. Among the ragas he sang were Purvi and Madhuwanti - both good. He did not bore us with long winded bada khayal, but kept to the chota khayal, and plenty of ghazals, most of them in Khamaj and Kirwani.

Fusion or Confusion: Harmonies in Hindustani Music

I'm told that Maestro Vilayat Khan nicknamed Fusion music "Confusion", and remember reading an interview where he challenged musicians to bridge the North South divide first before trying to blend in Western classical music with Hindustani music.

Fusion music exists all around us. Hindi film music is largely fusion music (ignoring the last 5 years, where Hindi film music is basically R&B, Hip-hop and completely Indian content free). It is also now the province of "besura" (out of tune) singers supported by ProTools - but that's another topic.

Great composers and arrangers blended in the string orchestra, (notably violin) with the dhol, tabla and sitar. The lead song and tune remained "indian" - the accompaniment was western. Even Ustad Ali Akbar Khan had guitar and tabla accompany him. The guitar accompanies most ghazal singers.

So, if western instruments are used for harmony, we tend to like the end product. In case where both styles are blended, they are often are not that popular. The music of leading groups like Shakti were an exercise in showcasing individual skills - the styles were never blended together entirely. Dr. Subramaniam's incomparable violin skills often bridged the gap, but it was "assembled" music with distinct western and indian sections - not a new form of music. So fusion music is probably better described as jam sessions. And, in the absence of a proper body of work behind it, it works well as a spectacle (tamasha) rather than something which touches your heart, so can hardly be called a style of music.

The pity is that talented musicians are forced to perform "Fusion" to get concerts and bookings overseas.

The Difference in Sound

One of the key differences between novices and ustads (maestros) is the quality of the sound produced by the two. I'm a bit surprised that this aspect of musicianship is not usually commented upon. I'm not referring to tayyari (preparation) - it is as simple as playing/singing Sa Re Ga Ma Pa (Do Re Mi Fa So).

Maestros tend to have a more complete, wholesome sound. Their attention to detail is amazing. I remember the first time I sat across Ustad Amjad Ali in his music room and heard him live. The difference in sound is significant. The sound is clean, perfectly pitched and confident. No "bending" around the edges. No twisting around the corners. Each note is struck perfectly - the right timing, weight, angle and harmony. No wonder the tarab (sympathetic) strings light up at each note. The sound lingers on for quite a while after the note has been played.

The novice (I'll include many so-called professional players in this category) on the other hand often slip and skid around the edges. One stroke is heavier than the other. The string changes are awkward. You can often see them rushing to complete the note like a batsman rushing to the stumps to avoid a run-out. The edges are frayed - the sound is not complete.

I'll attribute this difference to two things: (a) riyaaz (practice) and (b) confidence. The latter often is derived from the former, although mental makeup can be considered a factor. Lack of confidence in one's playing - always fearful of going wrong manifests itself in imperfect sound. The maestro on the other hand is supremely confident (see videos of Ustad Ali Akbar and Ustad Amjad Ali) - he/she is in the "zone". The attention to detail is there in every stroke. Every meend, gamak etc. is executed comfortably.

I'll keep trying to improve my sound - if I get halfway to where I should be, I'll be glad!