And I do not wish to get into a sermon on the theories on the genesis of music, either.
Suffice that music is something that stays with us; makes occasions memorable, adds expression to every emotion and brings peace to our very existence.
The laughter of a child is music to the mother’s ears just as its wail draws ‘worry lines’ on her face. Sound, in itself is communicative; discordant, loud, impulsive, may be. Yet, it conveys a message – of an impatient driver honking on the roads, a door that doesn’t close too well and needs attention, the 'pitter – patter' of the rains or an expensive crystal vase scattering to pieces! But when the sound is melodic, structured and deliberate, it forms a language most expressive, bringing tears to the eyes, a smile to the face or a lump in the throat.
The concept of a lullaby is universal. Just as are music and motherhood. As children we are the receivers of the comfort a lullaby provides and as parents we use it to comfort. And sure enough, music defines its space in our lives!
Raga Pilu has been a popular choice of music directors to compose lullabies. ‘Dheere se aaja re akhiyan mein..’, composed by C. Ramachandra for the film ‘Albela’, still remains a very popular piece in this theme (albeit the visuals may be completely ignored!).
A wonderful lullaby composed by the maestro Salil Chaudhary and rendered by Lata Mangeshkar, in Raga Pilu, for the movie ‘Do Bigha Zameen’ – ‘Aa ja re aa, nindiya tu aa’….
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From a technical perspective, as also from personal experience, a single Raga may be appreciated differently at different times in an individual’s life. The perspective of the Raga that comes to the fore and gets highlighted depends, to a large extent, on the state – of - mind of the listener or the artiste, the level of maturity and intellectual exposure and leanings. Individual taste in Ragas is a personal prerogative and is defined, primarily, by one’s personality. The theories, structures and definitions are only a broad framework on which creativity is unleashed.
Raga Pilu, on which the above mentioned piece is based, is controversial in its structure; it allows a lot of liberties and is, therefore, often referred to as ‘Mishra Pilu’ (‘mishra’ meaning mixture). The flavour of the Raga Pilu would be influenced by the Gharana, learning and interpretation by the artiste.
Another such Raga that comes to the mind is Bhairavi, a morning raga that uses flat connotations of the second, third, sixth and seventh notes of the octave (komal rishab, gandhaar, dhaivat and nishad). However, some artistes bring in a hint of other ragas with the play of certain notes and phrases of notes. Music, therefore, becomes a very intimate experience.
A beautiful creation in Raga Bhairavi, again from the Salil – Lata duo; there couldn’t have been a better choice of raga for this composition. The Bhairavi brings out the overwhelming emotion of a love unrequited….’ja re, ja re ud ja re panchi….’ from the film ‘Maya’…
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Music, to have expression, must rest on a structure that is melodic, rhythmic and logical. The play of the notes must be systematic and must be woven in a specific pattern.
A popular song from the recent film, ‘Jab We Met’, composed in Raga Manjh Khamaj, an evening raga, and sung by Ustad Rashid Khan, brings poetry, music and superlative artistic caliber to a beautiful union….
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And where words fail, it becomes a superior spiritual experience, soothing the mind and caressing the soul…
Raga Manjh Khamaj, a jugalbandi by Ustad Ali Akbar Khan (sarod) and Pt. Nikhil Banerjee (sitar)....
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5 comments:
Did you know that even words could weave music? This post of yours just did that!
I have read all your posts with keen interest. Having no musical learning and little exposure to the classical genre of our music, I find this makes interesting reading. But does get too technical at times. :)
Nice post. Would have liked more technical details regarding the ragas especially Raga Manjh Khamaj that you have mentioned.
Salil Chaudhary has indeed created masterpieces. Sad that he didn't get enough commercial recognition. Another MD who also created memorable music was Madan Mohan..
Good to see you back in the blog space again, Keep them coming!!
Gayatri:
The idea of my posts has been to keep it low on the technical content so I am able to just kindle the visitor's curiosity in our music. Thanks for the suggestion, though. Appreciated! :)
Revisited your blog after a long while. But I don't seem to have missed much...there haven't been too many post since my last read :)
I especially liked the Sitar-Sarod strains in Manjh Khamaj. Somehow, instrumental music is closer to my heart.
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