Apparently, Riyaz is an Urdu word. Hence, the concept of Riyaz, which is being
followed presently, seems to be initiated by musicians following Khayal style.
As is well known, Dhrupad follows a system derived from ancient traditions
hence, though there are several common features, apparently different
techniques are followed.
Though, instrumentalists essentially follow Khayal based system of Riyaz, it is
natural that instrumental techniques differ from vocal music techniques and
hence there are some special features that the instrumentalists of sitar, sarod
(plucked instrument etc.) follow, are Khayal based.
Great Ustads of our Gharana – Ustad Imdad Khan, Ustad Inayat Khan, Ustad
Wahid Khan, Ustad Vilayat Khan and the younger set are well-known for their
intense and prolonged Riyaz sessions. Infact, the Gharana is well-known for
great masters as role models of Riyaz. To the best of my knowledge, I have
not been able to listen any common features of Riyaz practices followed by
different sitar Gharanas.
What we hear is that great masters of our Gharana used to continue Riyaz
based on the life of a lighted candle, which might take 2 to 2½ hrs. It is said
that some of the Ustads undertook Riyaz for 2 / 3 / 4 candles which would imply
that they would practice anywhere between 8 to 10 hrs. To ensure disciplined
practice a system called chilla was followed which would ensure that the Riyaz
is continued for a specific period usually 40 days.
What exactly they were practicing is not very clearly indicated, though it seems
that they used to practice paltas made up of simple movements and perhaps
some movements based on taan patterns.
My personal approach is based on my own experience. Practices of Riyaz
described earlier, as is evident, would result into greater control over the
instrument. One important facet of the resultant effect was bifurcation of
conscious mind and sub-conscious mind, as already mentioned in greater detail
in the note on ‘Role of Paltas’ already circulated.
Hence I feel, as advised to me once by Ustad Amir Khan was “अरिवȽभाई पलटा
बजाओ – įरयाज़ करो but कु छ सोचो भी”, the process of ‘thinking’ is an additional
element which in my opinion is of great value. Thus following one’s own thought
while playing paltas with greater imagination. For this purpose, I have the
following suggestion.
The student should play one raga from beginning to end as if he is playing in a
concert before an audience. During this, the student will realize the area /
section where he is confused or weak. The student should note these areas
and with Guru’s advise should concentrate on removing such weaknesses
based on techniques which the Guru would prescribe. Further, by playing the
same raga for prolonged period like 6 months or so, the raga gets embedded
into students mind and when he plays the same in a concert, he would
experience less tension resulting into better creativity.
This suggestion is not with a view to replace paltas but in addition to the same.
As already indicated earlier, we have structured four kinds of paltas namely 1)
Simple paltas, 2) Taan paltas, 3) Raga Vachak paltas and 4) Bhav Vachak
paltas. Students have been taught these four types of paltas which they should
practice regularly consulting the Guru as and when required.
In conclusion, I strongly feel that there is no general prescription which could
apply to all students. We have students from different sectors of the society.
We have Khandani students, we have professionals (like architects etc.), we
have professional musicians, we have housewives who undertake talim in
addition to their own family responsibility etc. Further, there are relatively highly
educated students as compared. Then some students write down or record
talim sessions and others would prefer to remember (as in the old system) and
retain the talim in their minds.
Hence, it is the responsibility of the Guru to prescribe Riyaz structure keeping
in mind the status in terms of education, cultural background, worldly
responsibilities and other involvements.
Further to the above, I would like to add one important ingredient of Riyaz, As
is evident, several techniques of Riyaz are mostly focused on the expression –
in other words how to play.
It is equally important to learn what to play – content. For this purpose, my
suggestion is that students should listen to as much music as possible, not only
to have listening pleasure but also to accumulate musical artistry.