Understanding the Full Nature of a Raag: A Beginner's Journey Through Hindustani Classical Vocal Music

As a beginner in Hindustani classical vocal music, the quest to understand the full nature of a raag can seem daunting. One notable perspective comes from Pt. Bhimsen Joshi, who said before his passing, 'The portion of sky I can see from my window that much portion of Raag Yaman I have now begun to understand.' This quote encapsulates the journey towards mastering a raag like Bhupali, a path that requires years of dedication and the realization that true understanding is never fully reached.

Levels of Understanding a Raag

The process of realizing the full nature of a raag, such as Bhairav, involves multiple levels of learning and recognition. Let’s explore this journey step by step.

Level 1: Basic Understanding

Learning the Notes and Structure
At the foundational level, a beginner needs to familiarize themselves with the notes and structure of the raag. This includes learning the ascending and descending sequences (aaroh-avaroh) and the basic alankars or permutations of the notes. The complexity of these patterns varies; simpler patterns like straight notes are easier, but more complex patterns like sa-ga-re-sa re-ma-ga-re require more practice to master.

Switching between aakar (sound-based) and sargam (note-based) versions of the swaras also presents a challenge. Initially, the transition from aakar to sargam can be difficult, requiring dedicated time and practice.

Level 2: Introduction to Swara Combinations and Advanced Techniques

Swara Combinations and Swara-Vistara
Building on the basics, the next stage involves learning more complex swara combinations. For example, one can start from a small combination and build upon it, leading to swara vistara, such as sa re re sa, ga re-ga ga-re re sa, sa-ga re-ga ma-ga-re re sa. These combinations indirectly introduce more advanced technical skills like taans (ornaments) and chalans (trot), which are pivotal in shaping the raag's character.

Improving Swara-Sthana and Andolit Swaras
Attention now shifts to improving the swara-sthana (tonal placement) and understanding the andolit (shifting) nature of komal (lower) swaras. This layer of understanding is crucial for producing the characteristic feel of the raag. Additionally, learning to sing a vilambit bandish (slow-paced composition) with swara-vistara (expansions of notes) challenges the singer to maintain accuracy and flow.

Level n: Deepening Understanding Through Nuances

Differentiating Swara-Sthanas
At a more nuanced level, a singer needs to differentiate between the swara-sthanas of comparable raags. For instance, in the case of Bhairav, one needs to understand the difference between the komal Re of Bhairav and the komal Re of other raags like Todi, Komal Rishabh, Asavari, or Shri. Learning to emphasize specific shrutis (microtones) during meends (long glides) and to hide others provides a deeper insight into the raag's nature.

Focus on Nyas Swaras
The focus also shifts towards the nyaas swara, which is the central note or the nyasa komal Re (lower Re) in Bhairav. While traditional teaching may not explicitly introduce the concept of vaadi and samvaadi swaras, these come naturally through the learning process. Understanding the importance of these notes becomes a crucial aspect of navigating the raag's complex structures.

Level n1 and n2: Mastering Emotions and Rasa

Portraying Emotions Through Taans and Gamaks
At the highest levels, a singer aims to portray different emotions through various taans (ornaments) and gamaks (vibrato). This requires not just technical proficiency but also a deep emotional connection with the raag. Learning how to use different types of taans and uchharan (enunciation) to bring forth the essence of the raag and its thematic center (rasa) based on the meaning of the tappa (lyrics) or bandish (composition) is a hallmark of a truly skilled singer.

Awareness of Note Importance
Understanding how the relative importance of specific notes changes the feel of the raag enriches the performance. For example, in Bhairav, the importance of komal Dha (lower Dha) versus shuddha Ma (natural Ma) can significantly alter the emotional tone and thematic thrust of the raag. Awareness of such nuances allows the singer to convey the subtlest shades of the raag's character.

Conclusion

Singing a raag like Bhairav, or any other complex raag, is not just about knowing the ascending and descending notes and the basic taans and chalans. It is a journey of continuous learning, realization, and deepening understanding. Each level brings new insights, challenges, and revelations. As a beginner, it is important to approach the learning with patience, dedication, and an open mind. The full nature of a raag is a vast expanse that continues to unfold with each ribbon of learning, much like the portion of sky Pt. Bhimsen Joshi could see from his window.