Comments for Shabda Baan — Shubha Mudgal’s Blog http://shubhamudgal.com Just another WordPress weblog Wed, 04 May 2011 13:41:41 +0000 hourly 1 http://wordpress.org/?v= Comment on The Status of the Harmonium by SUDHIR NAYAK http://shubhamudgal.com/mint-column-on-the-status-of-harmonium/comment-page-1/#comment-338 SUDHIR NAYAK Wed, 04 May 2011 13:41:41 +0000 http://shubha.underscorerecords.info/2007/10/18/mint-column-on-the-status-of-harmonium/#comment-338 Dear Nileshji, Read your comments on the article. The arguments that you have stated about the Harmonium with relation to the equi-tempered scale and the natural scale are quite obsolete and I feel one needs to also have a look at the many developments and modifications that the Harmonium has gone through, endorsed and supported by the practitioners of Hindustani Classical Music. The present day popular Harmonium players in the Classical Music scenario, are quite concious about the tuning aspect and use Harmoniums tuned to a particular pitch in the natural scale, which conforms to the shruti structure adopted by contemporary vocalists. I don't know if you have heard about or seen the 22 shruti Harmonium that has been invented by Dr. Vidyadhar Oke. He has done this in consultation with many acclaimed vidwans and performers including Pandit Tulsidas Borkar, one of foremost harmonium players in the field of Indian classical music. In fact, the shruti positions played in such Harmoniums becomes so distinct due to the discrete note structure in the Harmonium, that it may not be at times displayed as distinctly by many other instrumentalists or even vocalists. Further, I have many a times witnessed many performers talking about the intricate structure of our shrutis, especially the Gandhaar in "Kanhara" or the shades of Nishad used in Hindustani Music who fail to sing even the basic swaras tunefully. Of course, these arguments, however true, cannot be generalised, since there are also quite a few performers adept in the use of Shrutis, many of whom have prefered the Harmonium to any other instrument because of its rich tonal quality, drone support and the continuity of sound that it provides to the vocalist apart from the many other qualities that it has. Although the harmonium cannot exactly reproduce alankaars like gamak, meend or ghaseet, many proficient Harmonium players have attempted to play the Harmonium using innovative techniques that could very closely represent these alankaars , which is why they have been able to establish their Harmonium playing styles very well, giving it the status of a solo instrument too. Also, the alankaars mentioned here are some of the devices actually used to ornament one's music and I feel music a capable musician can certainly embellish his music well with the many other ornamentations that are available, using his aesthetic sense effectively in the music making process. Besides, the Harmonium is quite new compared to the many other musical instruments that have established since ages in the world of Indian music and I am sure that in the forthcoming years, there will be much more experimentation in the direction of enriching and making the Harmonium more suitable and acceptable to the field. The inherent limitations and demerits that each one has, differ from one musical instrument to another or for that matter even from one vocalist to another too, but looking at the varied and wonderful aesthetic dimensions that each of these instruments or vocalists has brought in and contributed to the field as a whole, needs to be assesed before negating its usage or condemning it. Dear Nileshji,
Read your comments on the article. The arguments that you have stated about the Harmonium with relation to the equi-tempered scale and the natural scale are quite obsolete and I feel one needs to also have a look at the many developments and modifications that the Harmonium has gone through, endorsed and supported by the practitioners of Hindustani Classical Music. The present day popular Harmonium players in the Classical Music scenario, are quite concious about the tuning aspect and use Harmoniums tuned to a particular pitch in the natural scale, which conforms to the shruti structure adopted by contemporary vocalists.
I don’t know if you have heard about or seen the 22 shruti Harmonium that has been invented by Dr. Vidyadhar Oke. He has done this in consultation with many acclaimed vidwans and performers including Pandit Tulsidas Borkar, one of foremost harmonium players in the field of Indian classical music.
In fact, the shruti positions played in such Harmoniums becomes so distinct due to the discrete note structure in the Harmonium, that it may not be at times displayed as distinctly by many other instrumentalists or even vocalists.
Further, I have many a times witnessed many performers talking about the intricate structure of our shrutis, especially the Gandhaar in “Kanhara” or the shades of Nishad used in Hindustani Music who fail to sing even the basic swaras tunefully. Of course, these arguments, however true, cannot be generalised, since there are also quite a few performers adept in the use of Shrutis, many of whom have prefered the Harmonium to any other instrument because of its rich tonal quality, drone support and the continuity of sound that it provides to the vocalist apart from the many other qualities that it has.
Although the harmonium cannot exactly reproduce alankaars like gamak, meend or ghaseet, many proficient Harmonium players have attempted to play the Harmonium using innovative techniques that could very closely represent these alankaars , which is why they have been able to establish their Harmonium playing styles very well, giving it the status of a solo instrument too.
Also, the alankaars mentioned here are some of the devices actually used to ornament one’s music and I feel music a capable musician can certainly embellish his music well with the many other ornamentations that are available, using his aesthetic sense effectively in the music making process.
Besides, the Harmonium is quite new compared to the many other musical instruments that have established since ages in the world of Indian music and I am sure that in the forthcoming years, there will be much more experimentation in the direction of enriching and making the Harmonium more suitable and acceptable to the field.
The inherent limitations and demerits that each one has, differ from one musical instrument to another or for that matter even from one vocalist to another too, but looking at the varied and wonderful aesthetic dimensions that each of these instruments or vocalists has brought in and contributed to the field as a whole, needs to be assesed before negating its usage or condemning it.

]]> Comment on The Status of the Harmonium by Neelesh Viswanathan http://shubhamudgal.com/mint-column-on-the-status-of-harmonium/comment-page-1/#comment-333 Neelesh Viswanathan Mon, 07 Feb 2011 16:38:21 +0000 http://shubha.underscorerecords.info/2007/10/18/mint-column-on-the-status-of-harmonium/#comment-333 The Harmonium uses the equitempered scale, whereas Indian Music uses the Natural scale or the scale of Just intonation. For instance, in the Natural scale, the ratio of frequency of pancham to shadja is 1.5, whereas in the equitempered scale it is somewhat less at 1.4983. Another example is the Shuddha Gandhar (antara gandhar), whose frequency is 1.25 times that of the shadja in the Natural scale, but is as high as 1.2599 in the equitempered scale. In the natural scale, the notes used are naturally harmonic notes (which were used in Europe too, before the advent of keyboard instruments), whereas in the Equitempered scale, each key has a frequency which is 1.05946 times the frequency of the preceeding one. It can also be said that the ratios of 22 shrutis in Indian Music are related to each other as well as with the shadja by rational numbers. However, in the Equitempered scale propagated by Europe in the last 3-4 centuries, the ratio is an irrational number (twelfth root of 2). The notes of the equitempered scale are highly discordant and can never match the pleasantness caused by the notes of the Natural scale. The author is advised to pore deeply into this aspect before defending the Harmonium which is essentially an instrument which is based on the Equitempered scale. More importantly, Indian music uses graced notes: notes which are embellished by gamaka and meend, which are impossible in the Harmonium, but which can be produced on a Electronic Keyboard having a pitch-bender. Even Bharatha muni has mentioned that music without alankara (gamaka) is base. This is another reason for unsuitability of Harmonium in Indian Music. Please study the works of various eminent musicologists and try to comprehend the subtle differences in the 22 srutis which are used even today, before sympathising with the Harmonium. The Harmonium uses the equitempered scale, whereas Indian Music uses the Natural scale or the scale of Just intonation. For instance, in the Natural scale, the ratio of frequency of pancham to shadja is 1.5, whereas in the equitempered scale it is somewhat less at 1.4983. Another example is the Shuddha Gandhar (antara gandhar), whose frequency is 1.25 times that of the shadja in the Natural scale, but is as high as 1.2599 in the equitempered scale.
In the natural scale, the notes used are naturally harmonic notes (which were used in Europe too, before the advent of keyboard instruments), whereas in the Equitempered scale, each key has a frequency which is 1.05946 times the frequency of the preceeding one.
It can also be said that the ratios of 22 shrutis in Indian Music are related to each other as well as with the shadja by rational numbers. However, in the Equitempered scale propagated by Europe in the last 3-4 centuries, the ratio is an irrational number (twelfth root of 2). The notes of the equitempered scale are highly discordant and can never match the pleasantness caused by the notes of the Natural scale. The author is advised to pore deeply into this aspect before defending the Harmonium which is essentially an instrument which is based on the Equitempered scale.
More importantly, Indian music uses graced notes: notes which are embellished by gamaka and meend, which are impossible in the Harmonium, but which can be produced on a Electronic Keyboard having a pitch-bender. Even Bharatha muni has mentioned that music without alankara (gamaka) is base. This is another reason for unsuitability of Harmonium in Indian Music. Please study the works of various eminent musicologists and try to comprehend the subtle differences in the 22 srutis which are used even today, before sympathising with the Harmonium.

]]> Comment on Give us this day our daily (good) music by Mousumi Dey http://shubhamudgal.com/good-music/comment-page-1/#comment-330 Mousumi Dey Fri, 12 Nov 2010 04:32:24 +0000 http://www.shubhamudgal.com/?p=76#comment-330 Dear Shubhaji, I love your divine voice and all of your songs, especially your rendering of "ud de bihangam" because of the spirituality and your ability to convey the true meaning of the Absolute. I live in the USA(Midwest) and would like to take some lessons from you . May I know if you conduct workshops here and if so where and when you will be available. I have some training in Indian Classical vocal music. Best regards. Dear Shubhaji,
I love your divine voice and all of your songs, especially your rendering of “ud de bihangam” because of the spirituality and your ability to convey the true meaning of the Absolute.
I live in the USA(Midwest) and would like to take some lessons from you . May I know if you conduct workshops here and if so where and when you will be available. I have some training in Indian Classical vocal music.
Best regards.

]]> Comment on Look what they've done to "Ali More Angana" by Anirban Chanda http://shubhamudgal.com/look-what-theyve-done-to-ali-more-angana/comment-page-1/#comment-126 Anirban Chanda Sun, 09 Aug 2009 13:08:50 +0000 http://shubha.underscorerecords.info/2006/10/20/look-what-theyve-done-to-ali-more-angana/#comment-126 Thank you for this post. A couple of years ago when I was visiting India, I picked up the fake album at a store because I am a fan of you. I was quite confused when I listened to it later and never considered that a record company would stoop so low. Thank you for this post. A couple of years ago when I was visiting India, I picked up the fake album at a store because I am a fan of you. I was quite confused when I listened to it later and never considered that a record company would stoop so low.

]]> Comment on Give us this day our daily (good) music by Sydhwaney http://shubhamudgal.com/good-music/comment-page-1/#comment-285 Sydhwaney Mon, 13 Jul 2009 07:42:00 +0000 http://www.shubhamudgal.com/?p=76#comment-285 You Tube is addictive provided the downloading limit is at least fixed at 'unlimited' by your service provider.. otherwise mid way through the month, its dry season without You tube !! Just Love rajasthani songs.. flavor, their energy.. and also Shobha Gurtu.. although I must admit I dont understand the language word for word... Thanks for the post Shubhaji.. You Tube is addictive provided the downloading limit is at least fixed at ‘unlimited’ by your service provider.. otherwise mid way through the month, its dry season without You tube !! Just Love rajasthani songs.. flavor, their energy.. and also Shobha Gurtu.. although I must admit I dont understand the language word for word… Thanks for the post Shubhaji..

]]> Comment on My land, my state by Sydhwaney http://shubhamudgal.com/my-land-my-state/comment-page-1/#comment-251 Sydhwaney Thu, 09 Jul 2009 20:20:11 +0000 http://blog.shubhamudgal.com/?p=46#comment-251 Dear Shubhaji Haha !! You have certainly captured the Art of Writing WOW love the energy in this article .. its picturesque.. I could really see the line of musicians in the queue ... !! Dear Shubhaji

Haha !! You have certainly captured the Art of Writing WOW love the energy in this article .. its picturesque.. I could really see the line of musicians in the queue … !!

]]> Comment on New trend on Live Preview? by Sumi Krishnan http://shubhamudgal.com/new-trend-on-live-preview/comment-page-1/#comment-271 Sumi Krishnan Thu, 09 Jul 2009 19:48:17 +0000 http://blog.shubhamudgal.com/?p=49#comment-271 Hi Shubhaji Good to see you twittering and watching journalists with or without their lists of ragas. Often with Jazz and Western music Events a singer is expected to sing their signature song that has gained the reputation and popularity they need. Publicity material and previews often mention that song which made them as no doubt you are aware. This applies to all types of music. Some orchestras play the same theme all the time.... perhaps the listing of ragas in a preview is a poor copy of this pre promo work.. yet Hindustani singers who wish to popularise some of their best repertoires should be able to do it if they want to. I see no harm done. Ultimately what ever takes to get more people through the door. In western countries putting the name of the raga in a preview is meaningless as the name of Yaman or a Kannada derives no further interest. However previews as far as organisors are concerned is not only about the music, calibre, vidvath of the musicians but also about 'the selling of an event'. Talking of accompanists I agree that accompanying artists should be recognized. I think that singers should also promote small time musicians who play the 'more folky or ancient instruments' such as Ektara, Moor Singh, Sarangi, Veena, Dholak etc if this is commercially sustainable that is. I was told about the Baajaa Gaajaa festival and recieved few emails but no video clips appear on You Tube yet. Love your voice and cannot wait to see you here in Sydney sometime. Would love to record an interview with you - Truly, Sumi Krishnan Hi Shubhaji
Good to see you twittering and watching journalists with or without their lists of ragas. Often with Jazz and Western music Events a singer is expected to sing their signature song that has gained the reputation and popularity they need. Publicity material and previews often mention that song which made them as no doubt you are aware. This applies to all types of music. Some orchestras play the same theme all the time…. perhaps the listing of ragas in a preview is a poor copy of this pre promo work.. yet Hindustani singers who wish to popularise some of their best repertoires should be able to do it if they want to. I see no harm done. Ultimately what ever takes to get more people through the door. In western countries putting the name of the raga in a preview is meaningless as the name of Yaman or a Kannada derives no further interest. However previews as far as organisors are concerned is not only about the music, calibre, vidvath of the musicians but also about ‘the selling of an event’. Talking of accompanists I agree that accompanying artists should be recognized. I think that singers should also promote small time musicians who play the ‘more folky or ancient instruments’ such as Ektara, Moor Singh, Sarangi, Veena, Dholak etc if this is commercially sustainable that is. I was told about the Baajaa Gaajaa festival and recieved few emails but no video clips appear on You Tube yet. Love your voice and cannot wait to see you here in Sydney sometime. Would love to record an interview with you – Truly, Sumi Krishnan

]]> Comment on New trend on Live Preview? by smudgal http://shubhamudgal.com/new-trend-on-live-preview/comment-page-1/#comment-270 smudgal Wed, 08 Jul 2009 13:36:59 +0000 http://blog.shubhamudgal.com/?p=49#comment-270 Hi, You had written about wanting to organize and event at your restaurant "The Fox". I don't feel comfortable singing at restaurants and therefore I won't be able to do that, but thanks for asking. Best wishes Shubha Hi,

You had written about wanting to organize and event at your restaurant “The Fox”. I don’t feel comfortable singing at restaurants and therefore I won’t be able to do that, but thanks for asking.

Best wishes

Shubha

]]> Comment on New trend on Live Preview? by Ajay Sharma http://shubhamudgal.com/new-trend-on-live-preview/comment-page-1/#comment-269 Ajay Sharma Wed, 08 Jul 2009 05:37:47 +0000 http://blog.shubhamudgal.com/?p=49#comment-269 Mahodaya, I work for Shruti Mandal in Jaipur as a volunteer, well I joined it earlier due to compulsion because I was working for Shri Prakash Surana at his showroom. One day he asked me to go to Ramchandra ji's temple, where you performed for the Viraasat foundation. I was reluctant and told him that I am a layman and won't understand but when I reached there and sat for once, I could not standup. I was engrossed in your singing with my eyes closed no worries nothing. especially that piece" hamno to ishq mastana" Beleive me if you can after you I listened to Pt. Channu Lal Mishra, Pt. Ajay Chakraborty, Pt. Hari Prasad ji and Pt. Jasraj ji. May I pleas know where can I get that composition' Hamno to ishq mastana' . With all due respect I wanna say that you are solely responsible for making me lover of Indian Classical Music, correction The Greatest and Best Indian Classical Music. Mahodaya,

I work for Shruti Mandal in Jaipur as a volunteer, well I joined it earlier due to compulsion because I was working for Shri Prakash Surana at his showroom. One day he asked me to go to Ramchandra ji’s temple, where you performed for the Viraasat foundation. I was reluctant and told him that I am a layman and won’t understand but when I reached there and sat for once, I could not standup. I was engrossed in your singing with my eyes closed no worries nothing. especially that piece” hamno to ishq mastana” Beleive me if you can after you I listened to Pt. Channu Lal Mishra, Pt. Ajay Chakraborty, Pt. Hari Prasad ji and Pt. Jasraj ji. May I pleas know where can I get that composition’ Hamno to ishq mastana’ .
With all due respect I wanna say that you are solely responsible for making me lover of Indian Classical Music, correction The Greatest and Best Indian Classical Music.

]]> Comment on New trend on Live Preview? by asha gupta http://shubhamudgal.com/new-trend-on-live-preview/comment-page-1/#comment-268 asha gupta Tue, 07 Jul 2009 02:07:42 +0000 http://blog.shubhamudgal.com/?p=49#comment-268 hi tappi , how are you. you were is &will be a joy ,beauty ,anand for ever. asha hi tappi ,
how are you.
you were is &will be a joy ,beauty ,anand for ever.
asha

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