Dr. Prinsky

Humn. 2001

Introduction to The Sounds of India: Ravi Shankar (Columbia Records CD), by Ravi Shankar (born 1920), World's Most Eminent Sitar Player and Teacher (George Harrison of the Beatles was one of his most famous pupils)

Ragas are precise melody forms. A raga is not a mere scale. Nor is it a mode. Each raga has its own ascending and descending movement. And [it has] those subtle touches, the usage of microtones, and stresses on particular notes like this [example]. With the tamboura, the drone instrument in the background, the soloist does a free improvisation, known as Alap, after which he starts the theme, based on a rhythmic framework known as Tala. He can choose from many Talas, such as Tintal, a rhythmic cycle of sixteen beats. Or Jhaptal, having ten beats. The Tabla, or the drums, which keeps this framework, just plays the Takas, or beats, in the beginning, as you heard just now. Then starts the raga's gradual progression, of playing first smaller patterns, then longer ones. In the beginning, the accompanying Tabla gives, if I may say so, a reply to the lead instrument, such as the Sitar. At times, they may play together a long rhythmic pattern and return with a climax to Sum, or the one [first beat of the measure], which is the most important thing. Like this [example]. Although the role of the Tabla is relatively free, it is the lead instrument which directs the whole progress of the improvisation. The Western listener will appreciate and enjoy our music more if he listens with an open and relaxed mind without expecting to hear harmony, counterpoint, or other elements prominent in Western music. Neither should our music be thought of as akin to jazz, despite the improvisation and exciting rhythms present in both kinds of music.

Notes by Alan Hovhaness: Selection: Dadra. A night Raga, with a light and lyrical feeling. Many varieties of ornamentations are heard, and several scale forms are mixed and used in rapid alterations. The second part includes folk songs and tunes. The third part changes the rhythm to fast Tintal. This gradually rises to a climax, and then the music ends with a return to two measures of Dadra (3 + 3 = 6). This music is improvised in a free rondo form, returning to the main theme in many different ways.