RAGA – THE IMMORTAL MELODY

1. RAGA – THE IMMORTAL MELODY Indian Classical Music and its touchstone – the Raga, have been there since ages, titillating and delighting our senses. All through these times, many artistes have come and gone, perishing into the truth of mortality. But what has incessantly existed is the Raga. The Raga which the mortals have, at some point of time, patronized, performed, practiced or even created. I agree to the fact the artists have definitely left their indelible mark on one or more ragas, but it is undeniable that their existence, their glory can be strongly attributed to their art – which is the Ragas that they have created or performed dexterously. Raga Marwa by Ustad Amir Khan, Puriya Dhanashree of Pandit Bhimsen Joshi, Raga Bhoop of Kishori Amonkar are eternal recordings of the stalwarts, but what I feel stand out even more strongly are the Ragas themselves, and the grace they have bestowed upon these artists to be able to render them in unprecedented ways. Great artists have always said – when we disappear, the Raga appears. The discerning audience of Indian Classical Music go to listen to the same Raga rendered by the same artist so many times. Why? Because raga music never fails to surprisingly amuse the artist himself, leave alone the audience. The whole endeavor of the performer and the listener is to relentlessly search for the newness and the innovative approaches to the raga remaining well within its grammatical boundaries.

2. Ragas are not just structural melodies but living entities of sound. Yes, there can be strong metaphors showing the association of Raga music with happenings in the nature. There is Raga Multāni – a melody suited to the time of dusk which has aptly been described by the great Dhrupad maestro Ustad Zia Mohiuddin Dagar. He visualized Raga Multani as a vast ocean, just before sunset. The Nishaad(Major 7th) depicts the unending horizon into the infinite. The poignant Komal Dhaivat(Minor 6th) embraces the gorgeous Pancham(Perfect 5th). The descending Pancham along with the colors of Teevra Madhyam(Augmented 4th) and Gandhar(Major Third) meets the subtle oscillating Komal Rishabh(Minor 2nd) which finally melts into the Shadaj(Unison), like the beautiful bright waves gently rebounding into the seashore…all in experiencing tranquility! Another way I personally look at Raga music is the way it acts as a bridge of relation between the teacher and the disciple, or carries the thread of tradition in a musical lineage(gharana), or even becomes the subtle and sensitive mode of communication between the artist and his audience. Amazing! Isn’t it? The flow, the grace, the feeling, the novelty. SUDHANSHU SHARMA Hindustani Classical Vocalist https://www.sudhanshusharma.org/