punjini thumbnail
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Posted: 19 years ago
#1
The thread on pitch correction started by Kishore Bhakta veered towards the importance of riyaaz and some valid points were raised.
What is riyaaz and why is it needed?
Does riyaaz mean learning by rote or doing the same thing over and over again?
Does riyaaz affect creativity?
Would just a few hours of riyaaz a day suffice ? Were the earlier musicians better because of the 16 hours of riyaaz they put in a day or was it innate talent?
Can riyaaz make up for talent?
I am not a singer nor a musician, so it would be good to get opinions from those who sing or play music. But here are my thoughts (with some help from google!)
Riyaaz is an exercise in singing. When we sing we produce notes or swaraas of different audio frequencies. An expert singer can produce the right swara at the right time. He can do that because he has gained a good control over his vocal chords by singing over and over again. When you practice singing using a swaramaalika (or scale) for a particular raaga, you train your voice to jump from one swara to another without touching any other swara that is not in that raaga. Let's say you are singing a raaga with 7 swaras out of 12. As long as you do not touch the 5 swaras that are outside of this raaga, your singing is said to be in tune (soorila). If you touch any of those 5 swaras your singing is out of tune (besoora). When you practice multiple raagas, you develop the ability to sing any of the 12 swaras selectively and accurately. You also develop the ear for music and can easily tell whether your swaras are in perfect harmony with the accompanying music. It is always a good practice to sing to the accompaniment of a perfectly tuned musical instrument.
Riyaaz helps in keeping the vocals in tip-top condition so that there are less chances of slipping a note and it also enhances lung power. One could compare it to the practise that sportsmen put in before matches. Now, a player could theoretically go in and play without practice, yet give good results if he is talented. However, if he has put in hours and hours of practice, he has more staying power, he is less likely to make mistakes, and will be in control of the game.

Of course, riyaaz cannot make up for talent!

What happens with riyaaz is that the singer will be in control and in fact can be as creative as he wants. Which is why classical singers always sing a raga in different ways each time. One rendering of a raga will not be the same as another, simply because the singer, with his riyaaz has the confidence to try different interpretations of the raga. He can hold a note longer or go to a higher pitch simply because of riyaaz.

In SRGMP itself, I found that many singers improved their singing over the episodes. Those whom I had written off actually came back to perform better in the later episodes. It could have been due to riyaaz.

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zestinkiest thumbnail
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Posted: 19 years ago
#2
Thanks Punjini for a highly informative post.

I'm completely non-musical and i truly appreciate the efforts of all to help educate others on the finer points of music appreciation. 😃
*Jaya* thumbnail
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Posted: 19 years ago
#3
Totally agree Punjini'ji 👏 👏 👏

Unless one does a riyaaz - one will lose control on sur.. will have problems to hold breath for the complete song.. voice will also tend to crack on higher notes, and come real flat on the lower ones... 👏
advil thumbnail
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Posted: 19 years ago
#4
Punjini ji, its about time people understand and accept the basic essence of music - sadhana or riyaaz.
Thanks for the wonderful insight.
punjini thumbnail
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Posted: 19 years ago
#5
An excerpt of a conversation between Begum Parveen Sultana and T.N. Krishnan. It refers to riyaaz and teaching.

Krishnan: But some of the youngsters are doing a good job. They do not stop with learning or appreciating. Unlike in our times, they don't shy away from asking questions, do not follow things blindly and are forthright about their views.

Parveen: I do agree. I never fault youngsters or discourage them. After all they are our future. My 18-year-old daughter is learning both Hindustani and Western classical. But as far as I am concerned, I cannot compromise on my music. Innovation, experimenting, fusion... fashionable terms in the field of arts today, but they don't appeal to me. Most fusion pieces today are noisy and done un-aesthetically. It calls for a good understanding of all genres and styles. For instance, Ravi Shankar and Yehudi Menuhin; Palghat Mani Iyer and Allah Rakha. Fusion is not just about picking up from here and there and putting it together. That is confusion.

Krishnan: Yes, like you said these pieces should be organised and composed meticulously, for a divine effect. Personally, I have never felt the need to go beyond the classical parameters. Wherever I perform, it is only Carnatic music. Our tradition is so vast that even at this stage I feel there is much to learn. My aim is to make listeners experience peace and enjoy some relaxed moments.

Parveen: For that we need just pure soul, pure swar and taal. Isn't it?

Krishnan: True. And sadhana is the only way to discipline mind and music. No short cuts, easy diversions or over-taking, the route to success here is long-winding and arduous.

Parveen: My gurus would not let me skip riyaaz even in sickness. Now each day I thank them for making me do it. Only practice can give you the sustaining power and keep your energy level high.

Krishnan: But one should practise in the right way, or else it could prove detrimental. Choosing a guru is equally important. People generally go by names, and not vidwat.

Parveen: You should be fortunate to get a good guru and the gurus also should be lucky to get sincere sishyas. Teaching is an art by itself, and a difficult one at that. You should have in-depth knowledge, the right temperament and perseverance. I may be a good singer and performer, but need not be a great teacher.

Krishnan: For the past 35 years, I have also been teaching so I know it quite well. You should teach not only the nuances of the art but also presentation. Audience response depends on the way you showcase your talent.
soulsoup thumbnail
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Posted: 19 years ago
#6
Great post Punjini – did you PMed Rahul(CB) the link?😉
Well – I am not at all from musical background – but this is from my training I received during my group theater days. Mainly the focus on the 'Scale-maintenance' and practice all together in a circle – one will start a line (or even a song) and others will follow the same scale. All of us got tremendous result out of it. So I can imagine how important Riyaaz can be.
On another note on the scale maintenance: most of the EMAET joodis are seriously lacking it! Even my untrained ears can pick that out!
kishore_bhakta thumbnail
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Posted: 19 years ago
#7
Thanks for the PM and the posting on riyaaz!

I totally feel that riyaaz is a must for people who are serious in singing/playing instrument. If you fail to do riyaaz, your voice will have a hard time holding a note and will sound more tired. Doing riyaaz is like stretching your muscles before doing serious exercise or playing a sport. Stretching your body and muscles allows your muscles to fully prepared for any activity. When your body is not warm up, your muscle become stiff when any chance of great physical activity comes up.

This is very true with singers. We are just talking general sense here. Let me give you a raga example.

Punjini-ji mentioned the example of a raga with seven swaras (this is called a sampurna raga). You are less likely to miss a note with a seven swara raga, than a five note raga (audava raga)!

Imagine Malkauns! Malkauns is an audava raga where one wrong sur can really mess up the devotional/fierce mood of this raga. The notes are "S g m d n S'." In one essay I wrote many years ago, I said....

Add r by accident and it becomes a Bhairavi cousin
Add R by accident and it becomes a Bhimphalasi/Kaunsi cousin
Add G by accident and you risk entering Jog territory
add M by accident and the entire support of this raga sounds unstable
Add P by accident and it sounds as dull as seeing a scorpion without its stinger! Bilqool Dheela!!
Add D by accident and it sounds like bad version of Bhinna Shadja
Add N by accident and you inevitably enter the unwanted state of Candrakauns!

To do audava ragas, whether you are playing them on an instrument or singing them, require island hopping or notes! Riyaaz is needed to not only hitting the right notes, but to add expression, dynamics, and modulations to prevent sounding mechanically. Remember Nihira? I didn't know anything about her pre-challenge 2005. Besides her Chalka re, she sounded mechanical at first. But with her near-pakka sur, she sounded more beautiful than ever with the right amount of expression and improvement week after week. Remember, Rahe Na Rahe Hum? The song that haunts everyone as she was eliminated??

Point? Riyaaz is necessary!
Edited by kishore_bhakta - 19 years ago
punjini thumbnail
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Posted: 19 years ago
#8
Fantastic, Bhaktaji. Sorry about the sampoorna raga example (it was from google!)

But what do you say about creativity vis-a-vis riyaaz? Chatbuster says that if you go on singing the same thing over and over again, you are not going to be creative in trying new things.
Qwest thumbnail
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Posted: 19 years ago
#9
Totally agree Punjini ji. As I have said before about you simply brilliant. Great post and lot of good information.
Edited by Qwest - 19 years ago
kishore_bhakta thumbnail
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Posted: 19 years ago
#10

Originally posted by: punjini

Fantastic, Bhaktaji. Sorry about the sampoorna raga example (it was from google!)

But what do you say about creativity vis-a-vis riyaaz? Chatbuster says that if you go on singing the same thing over and over again, you are not going to be creative in trying new things.

From my personal experience, I definitely try not to sing the same thing over and over again. If I want to practice Raga Bhairava (morning raga), I would take a handful of songs with different lyrics, different dhuns, and hopefully different talas and practice. I would practice alankaras (combinations and permutations of the notes) and try to do it with as much as accuracy and develop some speed. As you know, compositions aren't gonna be in vilambit laya (slow speed) all the time, and you have to be able to hit the note properly in time with respect to tala.

Singing "jaago mohan pyaare" every day w/o any significant changes will eventually make the song sound stale when singing it. It is great to practice a song for some days, but you can't practice one song over and over again forever.

Singing is such a thing which you can't rank as a second nature task. If it were, then what is first nature?

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