Element of Improvisation in Indian Music

With the genius of Indian Music having evolved the Raga system, it is useful to discuss how the Indian Musician expresses himself within the framework of a particular Raga through the method of improvisation.

We shall attempt to analyse the different aspects of this element of improvisation in Indian Music which would include sections on “what improvisation is”, “how it is practised” and lastly “its importance and significance”.

WHAT IS IMPROVISATION?

In my opinion on we could divide the element of improvisation as practised by Indian musicians into two main divisions or methods.  I would describe the first as the “physical aspect and the second as the “mental” or the “emotional” aspect.  We shall discuss each one separately, as this would help to clarify the meaning and utility of each.

1. PHYSICAL ASPECT

Apparently, the physical aspect would deal with the treatment of musical notes which form the structure of a particular Raga.  Musical notes can be treated in a variety of manner.

(i)       I would stress firstly the individual note treatment. Let us visualise one musical note and in how many different ways a Musician can treat or render it. One can strike a note individually without any decorative element super-imposed.  The result would be a flat sound and would convey the meaning of its intrinsic worth in relation to the tonic.  One can also produce a flat note by touching or treating the immediate note either on its lower or upper position.  This treatment can be angular, rounded, gliding or a swift passing over to the note being treated.

The musician would use any one of those methods or a combination of several, as a part of the ornamentation of the individual note that he is developing. The extent or ornamentation of the individual note in turn would depend upon the stage at which the raga improvisation has reached and the imagination and the mood of the performer.

(ii)       Just as different ways of treatment of a single note are practised, So also the Indian Musician can combine several notes to form small musical phrases . These physical permutations and combinations are no doubt regulated by the rules which govern the formation of a particular raga and within this discipline, the Musician improvises with freedom.  It is interesting to note at this stage, that the mathematical possibilities of combining more than one note, is used with great advantage by the Indian musicians. For example, three notes can be combined in six different ways.  Using the numerical ‘1’ for the first note of any three note phrase, numerical ‘2’ for the second note, numerical ‘3’ for the third note and so on, we could have the following different combinations of 3 notes:

Similarly, if we take four notes, we get 24 combinations.  To illustrate again :

In this manner, we get 24 combinations of four notes. If we take five notes we wil1 get 120 combinations, with six notes we shall get 720 combinations and with seven notes , we pet 5040 combinations.

(iii)      Speed forms another important facet of the physical method of improvisation.  No doubt, the speed at which the musical thoughts and rendered is the result of the emotions of the musician.  Great Masters in the past have opined that pathos is expressed at its best in the slow speed, romance and joy in the medium speed and vigorous or aggressive emotions are best expressed in the faster tempo. Thus, the emotion which a particular raga is based on, would determine the relative speed at which it would be developed.

(iv)      Another important aspect of this physical treatment of notes is the emphasis with which the notes are rendered. Referring again to the medium through which the emotions are expressed, a note is rendered with greater or lesser physical emphasis depending upon the type of musical expression desired by the performer

(v)       Vadi-Samvadi (Poorva-ang – Uttar-ang):  Apart from the technique of stress or emphasis that the musician might utilise to convey different emotions, one of the important disciplines of the raga system is creation of melodic centres known as “Vadi” and “Samvadi”.  The Vadi note is the principal note of the entire raga structure and it is necessary to emphasize and create musical designs around this note to project the basic character of the raga most effectively. The next note in importance to the “Vadi” note is called “Samvadi” note. The “Samvadi” note, though import ant on its’ own, is supportive of the “Vadi” note and in a sense counter-balances its impact.

The Indian tradition has divided the scale into two parts called ‘Poorva- ang’ and the ‘Uttar- ang’. The former covers the first half of the octave upto the 4th note and the latter covers the second half of the octave from the 5th note onwards upto the 8th note or upper tonic.  If the “Vadi” or the principal note is established in the Poorva- ang then the “Sarvadi” note is usually in the Uttar-ang or the second half of the octave . This maintains the formal structure and the balance of the scale which is being used in a particular raga.

The system of melodic centres hence is of relevance while considering the physical aspect of improvisation.

1. MENTAL OR EMOTIONAL ASPECT:

It is evident that in a sense, the physical and the emotional methods of improvisation cannot be segregated when a musical performance is assessed in its entirety. We are merely discussing these individually for the sake of a clearer and more precise understanding, though it is accepted that both are inter- dependent

and are jointly used for improvisation . In fact, one aspect sometimes regulates the other.  As such, let us consider how the Indian Musicians visualises the notes he is using in the raga, let us consider what he fee ls about them, how does he seek to colour these notes, how does an Indian musician consider some notes more important than others!!  Answers to these questions would reveal the emotional aspect of improvisation.

(i)        Indian music is highly subjective in its approach.  The Indian Musician is primarily performing for his own self rather than for an audience.  In other words, Indian Music is relatively less objective in its approach when compared with other systems.  Indian Music perhaps was not envisaged for being presented on a stage for large audiences as it is more introspective or meditationa1 in character. It would be easy to understand therefore why Indian instruments have very delicate and soft sounds as compared to the Western instruments . Due to the Due to the character of Indian music, the musician respects music as something very pure, pious and religious. It is therefore not unusual that music and religion in India are closely linked together. The Indi an Musician seeks to balance, so to say,  philosophy and religion, concentration and meditation . The twin cult of philosophy and religion yoga and bhakti are blended together and the musician seeks to balance the opposites like, consonance and dissonance definiteness and infinity, symmetry and asymmetry.

The principle of unity in diversity projecting the idea of melody being a base for man versus the universe gives an original meaningfulness to it as expressed through the raga. Last, the musical rendering establishes a positive line of communion between conscious and unconscious centres of the mind through the mathematical numerals which the various musical notes denote and represent.

(ii)       With this backdrop of introspective devotional approach of the Indian musician, it would be appropriate to deal with another aspect of the emotional approach to improvisation, which is the element of “Rasa” or  Mood. It is believed

that there are nine basic emotions of Rasas.  Let us enumerate them:

1)        “Shanta’ Rasa i.e. Peaceful mood

2)        “Karuna” rasa i.e. Mood of Pathos

3)        “Shringara” rasa i.e. Romantic mood

4)        “Veera” rasa i.e. Mood expressing Vigorous or aggressive emotions

5)        “Hasya” rasa i.e. Mood expressing joy or laughter

6)        “Roudra'” rasa i.e. Angry mood

7)        “Bhayanaka” rasa i.e. Mood expressing fear

8)        “Ad-bhoota” rasa i.e. Mood expressing surprise

9)        “Bhibhatsa” rasa i.e. Mood expressing feeling of disgust

According to some there are two other Rasas also called Bhakti (Devotion) and Vatsalya (motherly feelings). Whilst practically all these emotions are used in literary works drama and dance, Indian musician uses mainly the first five.  Every Tapa has a main basic mood and it is this mood or rasa that the Indian musician expresses whilst treating the rasa with all the required disciplines.

For example – A Karun a rasa or pathetic raga is performed in  slower movements and with differing emphasis on different notes as guided by his emotions.  Usually, the Indian musician does not mix up different emotions in any given raga. However, sometimes, he blends two emotions like, Shringara (romance) with Karun (tragic) or Bhakti (devotional). Sometimes romance would culminate into a tragic end and through romance of a spiritual character, one can easily transcend into a devotional or spiritual mood.

It is necessary to clarify here that a performance of Indian Music usually starts at the slowest tempo and ends at the fastest.

As we have seen earlier, different speeds of musical renderings result in the creation of different roods.  One may therefore ask as to how a raga expressing a sad mood could be rendered in the fast tempo. An Indian musician takes great care to treat the slower part of the development of the raga at a much greater leisure and appropriate length when he is rendering a raga which is either sad or devotional in character. Sometimes, he omits the faster movement altogether, or shortens it with a view to maintain the correct mood. Conversely he would emphasize the medium and the faster movements in the development stages of a raga when it is of a joyous or vigorous mood.

A further observation about improvisation through emotions. It is correctly stated that if a musician repeats the same notes or phrases in a raga, it may sound monotonous.  On the other hand, if these phrases are treated with different emotions and therefore with different emphasis, the affect would be distinct and different though the physical note combinations remain the same I would for one, maintain that treating the same notes with different emotions is also an element of the process of improvisation.

iii)       Purity of Notes has been emphasized greatly in the Indian musical tradition. I am not merely referring to the physical purity or the correctness of musical notes, but also the chaste and pure form of the same. (One cannot express e note in its purest form unless one is equipped to assess its scientific position in the 0ctave and at the same time approaches it with a devotion and humility that is essential. It is believed that a sense of surrender or an app roach full of humility is absolutely necessary to render effective music.  To improvise with appeal, the Musician should possess a sense of respect and adoration for the musical notes. He should treat them with affection and love.  This could be a very important dimension of the attitude or approach to music and the mediums used for improvisation. To illustrate the importance of this element, let me tell you a small mythological story.

There was a great “Veena” player called “Hanuman” and he used to play the “Veena” with great perfection. His rendering was so effective that each note of the raga that he played used to become alive. Once when his Master was listening to him with admiration various notes cane to life.  At this, Hanuman said to himself, “What a power have I achieved that I am able to make all these notes become alive before the very eyes of my Master”. This thought expressed a sense of ego and it was natural therefore that the very next note Hanuman struck was not so effective and the note died. Try as he would, Hanuman could not make the note alive again. Hiss Master immediately understood what had happened and told him that it was the result of his ego sense. Then his Master took up the Veena from him and with the very first pluck the note came to life!  Hanuman fell at his feet and begged pardon”.

Humility in approach is highly essential to render pure and effective music. Let me tell you another story which depicts the power over the forces of nature that the pure notes can command. This is believed to be a true story and occurred during the time of Akbar, the Great Moghul Emperor, who ruled India during the 16th century.

In his court was a great musician called Tansen, who had perfected his musical renderings and had reached such a high stage of musicianship that it is said that he was able to control the elements of nature. The King was greatly impressed by his command over music. When the King saw that Tansen could make the garden flower beautifully, could create an atmosphere full of rich perfumes, could cure diseases with music, and so on, one day asked him whether he had the power of lighting a fire.  He asked Tansen whether it was true that he had this power as well! Tansen replied that his Great Guru had taught him various ragas and one of them called “Deepak”, if rendered effectively, could light a fire. It would however consume the singer as well.  The King was very curious and was encouraged by other jealous court musicians to order Tansen to sine Deepak for him.  When Tansen sang Deepak, he did create a fire, but at the same time started burning himself.  Tansen would die of this fire if there was no other equally great musician who could sing another raga called ‘Malhar’ which would bring forth rains to extinguish the fire.

As there were no such musicians available at the court of the King, it is said that, Tansen undertook a journey of the country and went from place to place in search of a musician who could relieve him of the fire that was consuming him.  When he came to a province called Gujarat, he heard from a distance two simple women singing while drawing water from a well.  These two women were Tana and Riri – two sisters who were versatile musicians. Tansen heard them singing with such emotion that he thought that they could cure him.  In fact, as the story goes, these two simple sisters sang raga MALHAR with great devotion which caused rainfall and the fire that was consuming Tansen was put out.

These are stories which are to be appreciated symbolically. (We could therefore conclude that the mental or the emotional approach to improvisation is an important aspect and has great effect on the actual or physical rendering of Music.

Upto now we have dealt with what is Improvisation and the various aspects of the same. It would be useful to understand now, how to Improvise.

THE TECHNIQUE OF IMPROVISATION:

Having explained to you the basic concept of Improvisation as such, I would like to state in very simple words the manner in which an Indian Musician goes about improvising during a performance. Perhaps my initial explanation might sound very elementary, but I think, it would assist in understanding very easily, the technique of Improvisation.

Just as the language is the expression of thought through spoke words, so is music is a language which expresses the emotions of a human being through sound.  The basic unit of language is the alphabet, whilst that of music is a note.  Just as A, B, C, D etc., are various alphabetical symbols, so are the various notes that we use in a raga, various musical symbols.  When we combine selected alphabets in a regulated sequence we form words.  Similarly, when we combine selected musical notes, we form, so to say, musical words.  By combining the different words we get phrases and by combining phrases, we get sentences. By observing similar grammatical rules, we obtain musical phrases and then complete musical sentences.

As per the definition of a raga, we have to observe the tenets of selection, combination, emphasis, etc., etc. Initially we have to select the correct alphabets or notes depending upon the raga that is performed and subsequently, we have to combine them according to the rules. For instance, W A S would mean something quite different than S A W.  The process of combination thus is very important. When sentences are formed, we observe certain grammatical discipline and have a subject, object, objective, adverb etc. Similarly, in musical sentences we have to observe musical rules that govern the basic formation and the development of a raga. When the sentences are narrated in the form of an article, a speech or even poetry, we observe certain rules and develop a particular subject. Similarly, various

musical sentences so formed could be presented in the process of performing a raga culminating in a complete performance.

Just as a speech could be pre-written or could be extempore, a piece of music could also be pre-composed or improvised on the spot.  An Indian musician normally does not perform on the basis of pre-composed music. He unfolds a raga in the stage of “alap” (initial development), without the music being pre-composed and improvises extempore – no doubt observing certain fundamental rules and disciplines.  Just as the length of a literary piece could depend upon the imagination and the intrinsic capacity of the author and his own desire , so also the duration of the Indian Classical Musical piece could depend upon the quality and Inclination of the Musician himself.  Through this simple explanation, one could understand how an Indian Musician improvises during a raga performance.

The technique of improvisation in presenting rhythms is similar to the technique used for melodic improvisations.  Indian rhythms are expressed through symbolic words such as Dha-Dhin, Tirkit etc.  Just as we express melodic notes by use of words like SA – RE – GA – MA or DOE- RE – ME etc.  Such phonetic sounds correspond exactly to the sounds created by playing rhythmic instruments like tabla – Pakhawaj,  etc. In fact the verbal recitation of a rhythmic piece corresponds and imitates a sound pattern complete in all respects.

Rhythmic improvisation follows the rules and disciplines of melody or raga improvisation. Within gradual unfoldment of the patterns, the rules of selection, combination, emphasis, etc., govern the presentation of a rhythm or taal. The player is well-versed in these requirements as a result of the training he would have received from his teacher/master and improvises with ease and naturalness. Rhythms in India have thus a language of their own and the player can convey his artistry both through recitation and his instruments.

DEEPER SIGNIFICANCE OR IMPROVISATION

I will end my paper with a few remarks relating to the inner or deeper significance and positive part played by the element of improvisation in Indian Music.  Whilst I have explained “what is improvisation and how it is practised”, both through the medium of melody and rhythm, it is important to analyse the precise vision that the Indi an Musician adopts in this regard as this is not relevant in respect of the art of music alone, but enters the field of philosophy and engulfs his approach to life as such.

Freedom of expression is considered to be the basic element of improvisation.  However, one can say that unregulated, un-channelled expressions of emotions would be music?  Perhaps many would say that it is chaotic noise!  According to Indian conception of Classical Music therefore, certain basic discipline to which the Musician subjects himself, is inherent and necessary.

Whilst there is freedom to develop the melody of raga according to the capability and the imagination of the performer, his improvisation is regulated by certain precise rules. It has been truly said that one should first learn the technique, master it, and then forget it.  To be able to improvise freely, a Musician must learn the techniques of the Musical system, master it and then only be can afford to forget it, only after he has imbibed completely and his sub conscious mind expresses it without any conscious effort.

To appreciate this theory, it would be relevant to appreciate that even in Nature, where we find a great measure of freedom, specific laws have a regulatory effect. There exists a scientific system in Nature which operates according to specific laws.  Similarly, the Indian Musician improvises within the framework of rules of the raga system. His approach is to delve deeper and deeper within this framework, using specific notes that are to be used in a given raga. Instead of expanding his area of musicality horizontally so to say, he goes deeper and deeper vertically in the circle that is created by the rules of a raga. The Indian Musician is a composer and a performer at the same time. He does not therefore consider the discipline of the raga system a restriction. In fact, he considers it highly useful and necessary to build up an edifice – an atmosphere of the celestial ragas that have been composed and perfected by Great Masters through the ages.