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. (elaborate?)
Though, instrumentalists essentially follow khayal based system of riyaz, (elaborate) 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 instruments) follow, are khayal based.
Great Ustads of our gharana – Ustad Imdad Khan, Ustad Enayet Khan, Ustad Wahid Khan, Ustad Vilayat Khan and the younger set are well-known for their intense and prolonged riyaz sessions. In fact, 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 other 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 rigorous riyaz is continued for a specific period of 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.
Hence I feel, as advised once by Ustad Amir Khan, “अरविन्दभाई पलटा बजाओ, (use this as a cue for next question) – रियाज़ करो but कुछ 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.
(Shouldn’t the student be experienced enough to be able to play?)
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 advice, should concentrate on removing weaknesses based on techniques prescribed by the Guru. Further, by playing the same raga for a prolonged period like 6 months or so, the riyaz gets embedded into student’s mind and when he/ she plays the same in a concert, he/she would experience less tension, resulting in 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. Should we demonstrate?
In conclusion, I 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 farmers, we have professional musicians, we have housewives who undertake taleem in addition to their own family responsibilities etc. Further, there are relatively highly educated students as compared to some others. Then some students write down or record taleem sessions and others would prefer to remember (as in the old system) and retain the taleem in their minds.
Hence, it is the responsibility of the Guru to prescribe the riyaz structure for each student keeping in mind the status of his/her 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 the benefits of musical artistry.