Talim

1. Significance 

The word ‘Talim” signifies serious and deeper values as compared to the connotation of the word “Tuition” or “Class room teaching” in the modern sense. Though Talim has undercurrents of the Urdu language, it underscores the spirit and philosophy of music education under the Guru- Shishya Parampara.

It would be self-evident that there is a vast difference between the connotation of the word Talim and a Class – between the Guru and the so called Masterjee. The relationship which exists between a Guru and a Shishya covers a far wider spectrum when compared to the relationship that exists between the Masterjee and his student. The Guru considers his Shishya almost like his own son and aims to develop him not only as a musician but also as a good human being. This relationship in its true perspective does not have any commercial or mercenary considerations. There is a tremendous amount of sentiment involved.  Affection for the Shishya and respect for the Guru are watch-words in this relationship. As opposed to this, a class room teacher or even a tuition teacher has essentially commercial considerations and the bond which exists between the Guru and Shishya is usually absent. No doubt all Gurus are not necessarily ideal Gurus and for that matter, all Shishyas are not ideal Shishyas.  The same dictum applies when we consider the relationship that exists between a class room teacher and his student.

If one is therefore to receive Talim in the true sense of the word from a Guru or even a teacher, one should be extremely considerate whilst selecting a Guru. It is accepted that Gurus are not available at every street corner. However, the Shishya should consider different aspects of the relationship with the Guru as w.ell as his capabilities before starting talim. 

2. An Ideal Guru 

What are the capabilities of an ideal Guru? our Shastras describe them as follows: 

GYAN (Knowledge) 

VIGYAN (Ability to analyse the knowledge) 

VACHAN  (A Guru should be articulate) 

PRAYOG-SIDDHI  (Ability to demonstrate) 

SHISHYA-NISHPADAN  (Ability to “make” a musician out of the Shishya)

Similarly the Shishya should have the following attributes: 

SINCERITY 

DEVOTION 

LOYALTY 

RESPECT FOR THE GURU 

In today’s materialistic world and perfunctory values, it is almost impossible to have a Guru with all the qualifications listed, nor is it possible to have a Shishya with all the attributes stated above. However, the student whilst adopting a Guru should not take short-term gains into account, but consider the relationship as one of much higher values beyond commercial considerations. 

Conversely, the Guru should also be careful whilst selecting a student. It is appreciated that this is easily said than done. Monetary considerations cannot but affect the decision making of a Guru while adopting a student in today’s materialistic and commercial world. one can however advocate tenets which could be followed by the Guru as well as the Shishya to the extent possible. we have also to take into account cefiain other constraints such as inability of the Shishya to select a Guru who is not easilv accessible both geographically and monetarily. There are students who cannot travel long distances and will have to make do with the Guru available in the area or region of his domicile. Similarly, if the Shishya is not in a position to pay the fees demanded by the Guru then he or she will have to compromise in this regard.

Ganda Bandhan is a traditional ceremony w-hich has ancient roots. It is believed that once the Guru ties a sacred thread around the wrist of his shishya, he becomes additionally responsible – and in a sense accountable – to ensure that the shishya develops into a real good musician. Undoubtedly there is a philosophical – almost spiritual undercurrent – which is symbolised in the form of Ganda Bandhan ceremony. However, unless the Guru ties the sacred thread with devotion, sincerity and affection. the ceremony would have no worthwhile meaning. Unfortunately, there are instances where the Gurus have used the ceremony for financial benefits only – the student is expected to offer a respectable sum of money by way of “Nazar”, to his Guru. It would be equally true to say that the shishya should also perform the ceremony with an equal sense of devotion, sincerity and loyalty to achieve a real and long term benefit through the talim he receives. I am a great believer in this ceremony which should be considered as a symbolic bond which should exist between the Guru and shishya – a bond which is above material considerations.

3. Techniques of Talim 

Assessment of aptitudes and capabilities of the Shishya 

1. Every human being is made differently – has different aptitudes, values, preferences and approach to life. It is therefore very important for the Guru to assess both the aptitudes and the capabilities of the Shishya before starting the actual process of teaching. It is possible that after such an assessment, the Guru may not be willing to accept the Shishya in question. It is possible that both in terms of Shishya’s aptitudes and capabilities, he may not fit in the Guru’s own preferences.

1. Once having accepted the student, the Guru will have to adopt a methodology to ensure that the Shishya is placed on a correct track and follows a path which will lead him to his goal. The methodology of actual talim, should be suitable and in line with the mind set of the Shishya i.e., whether he prefers an introspective – inward looking kind of music or he is more inclined towards an outgoing and impressnistic type of music. It would be incorect to follow a uniform technique of teaching for all students. The Guru will have to necessarily adopt a strategy to suit the requirements of the student in question. 

1. However, before leading the student on either path, certain basic essentials should be taught. As I have experience in teaching sitar, I will take sitar talim as an example in this regard. 

1. To start with – the physical position of the student i.e., his sitting posture, the position of the sitar, the position of both the hands, placing of fingers of both the hands etc. It is also equally important to ensure that the source of power should be scientihcally correct for executing music through both the hands, and emanates from the forearms or wrists rather than from elbows or shoulders. The positioning of both the feet are equally important.

1. Once the Shishya learn the correct sitting position, then the next phase of exercises should start. In our Gharana, we have specific exercises for developing the right and the left hand, and then co-ordinating movements of both the hands. Over the years, researched exercises have been developed for students to be able to learn such techniques both efficiently and quickly. Such exercises cover all the stages of the laya or speed namely, slow, medium and fast tempo movements.

1. At this stage the ‘”how” and “what” of music enters the field of teaching.  The “how” part is related to the expression of music and the “what” part is concerned with the content of music. It is advisable to start teaching the manner or expression of music just as a child first leams “how” to speak rather than “what” to speak. Once the student acquires reasonable control over the language of the sitar, then the Guru should gradually introduce the techniques of “what” to play. This is not an easy task and has to be done extremely carefully and in doses, which the student can digest.

1. For a period of time, it is essential that both the techniques concerning the “matter” and the “manner” go side by side. This period of talim is sometimes tiresome and without any worthwhile excitement for the student. Unless the Guru monitors the student’s progress almost on a day to day basis, it is possible that the student may feel frustrated. 

1. Once the student reaches a reasonably good level of expressing his musical thoughts, through proper techniques of execution, the Guru should get involved in teaching different high level techniques. This area covers six elements.

1. Raag Swarup 
2. Emotional content 
3. Volume variations 
4. Speed variations within a musical phrase 
5. Decorative elements 
6. Gaps between phrases 

1. Alongside the Talim of manner or “Tarika”, the student should also be taught techniques of Improvisation. 

These cover: 

1. Melodic development and design building as a variation. 
2. Subject building through the use of (a) 
3. Beautification of the subject – through above mentioned six tenets.

1. We have referred earlier to the difficulties experienced by shishyas in receiving talim from Gurus on a daily or frequent basis due to a variety of reasons. Many Gurus therefore encourage their students to tape record talim sessions to enable the shishyas to refer to the same at home to revise the lessons. Though some Gurus might have reservations to allow their shishyas to record such sessions, personally I encourage students to use this modern electronic device to great advantage.

4. Riyaz 

1. Seasoned Ustads advise that beginners, as far as possible, should be made to practice before their teachers with a view to avoid wrong positioning of the hands and wrong sitting posture. Once the student is reasonably clear about the correct positions, he should be allowed to practice on his own.

1. It is advisable for the student (beginners), to sit before a mirror whilst practising to ensure that the sitting postures and positioning of the hands and exact execution are all as per talim. By experience, it has been noticed that this suggestion is extremely useful. Practising “Paltas” for long periods of time usually results into “effortless” execution. This in turn results into clarity and increased speed. However, such effortless execution can also be achieved by developing a state of mind which is free from tension. In reality the phrase “practice make perfect” implies that over a period of time physical exercises / practice results into excellent ‘manner” of performance. If the physical effort is coupled with the correct mental approach and analysis, such effortless execution can be achieved in a relatively shorter period. The conscious and the subconscious mind function independently, when such effortlessness is introduced in a performance. This is the stage when the musician is “in a sense”, above “technique”. He “digests” the technique as it were. The conscious mind creates music, while the sub-conscious mind executes the same. 

5. Review of Progress

 It is an acknowledged fact that very few Gurus have the time or inclination to listen to a complete performance of their students. Assessing the ability of a student mainly during the process of teaching is not enough. If the Guru listens to a complete performance from start to finish, he would be in a position to identify the strong and weak points of the student, which would enable him to rectify the weaker elements. It is therefore advisable if periodical review performances of students are arranged, which the Guru should listen to with focussed attention. Additionally, it would be useful to maintain a file on each student to record the progress made by the student over a period of time. This however implies that the Guru would be required to do his “home work” in respect of each student to ensure that enough and required attention is paid to improve his performing standard.

6. Listening Sessions 

It is essential to expose students to a larger and wider canvas covering a broader area of music education. It would be useful to organise periodic listening sessions to which could be invited authorities in different fields relating to the specific area of music training that the students are undergoing. Such listening sessions could cover:

1. Historical Evolution of Indian music. 
2. History and specialities or qualifications of different Gharanas. 
3. “In depth” knowledge of tabla – both as a solo and an accompanying instrument. 
4. Analysis of recitals of Great Masters etc. etc.

Conclusion

In the last analysis, it is important that the Guru teaches his Shishya one of the most important traits – i.e., ‘VINAY”. This implies respect not only for his Guru and Gharana but also for others – other musicians – other systems or Gharanas of music. Guru should encourage the student to “adopt” whatever he finds useful from other systems of music – but to ensure that he converts the idiom into his own Gharana’s language. This presupposes that the Guru himself is open-minded and humble. Humility is one of the most important essentials of a musician – Humility towards others – humility towards the music that he performs. Musical notes and rhythmic syllables are very sensitive creatures. They have to be treated with humility and affection. The ultimate goal of the Guru should be to make………….