Sangeet Spectrum, an Expression of Indian Classical Music’ recently witnessed an enthralling sitar recital by Ustad Shahid Parvez at Jai Hind College, Mumbai. Organised by Dedhia Music Foundation in collaboration with the SPIC MACAY Heritage Club and Jai Hind College, the initiative was a step forward in propagating Indian classical music, aimed at inculcating cultural values in the students of the next generation.
During the concert, Ustad Shahid Parvez gave a scintillating sitar recital. He introduced the students to the nuances of the sitar like alaap, gat and jhala in Vilambit Teen Taal in Raga Bhimpalasi. He also played a refreshing folk tune (dhun) in Raga Pahadi and concludes his recital with another melodious dhun in Raga Bhairavi.
Ustad Shahid Parvez is an Indian classical sitar maestro who has strummed the Indian classical instrumental music scene with his raga improvisations and vocalistic phrasing known as Gayaki Ang. He represents the seventh generation of the Etahwa or Imdadkhani Gharana of sitar and surbahar founded by Ustad Imdad Khan. Ustadji is the recipient of Padma Shri (2012) and Sangeet Natak Academy Award (2006).
Ustadji was accompanied by Pandit Mukesh Jadhav on tabla, who also made the session interactive by making the students learn how to count the taali and khali on teentaal, while they enjoyed clapping to the beats.
Talking about his initiation into the world of music, Ustadji says, “As per our tradition, whatever you want to learn, the taleem starts with vocal music. So, at the tender age of three, I was initiated into vocal music by my grandfather, Ustad Wahid Khan saheb. At the age of four, I was given a sitar and after two years, I was asked to learn some tabla to grasp the taals. So, my practice included 70 per cent sitar along with vocal and tabla sessions.”
Emphasising the importance of learning music at an early age, Ustadji says, “It is better to start early because the initial practice is basic, monotonous, and repetitive with swar sadhana, sargams, taans and paltaas, and that’s the phase when the child gets used to the traditional music. Once there is a sense of music then the child starts enjoying it and wants to learn and explore more ragas and bandishes. Thus, to enable the child to learn more, it’s important to start early.”
If we go back to Ustad Imdad Khan, the founder of the Etahwa Gharana, he was taught by his father Ustad Sahabdad Khan, a trained vocalist and self-taught sitar player, disciple of Haddu Khan of Gwalior Gharana. Ustad Imdad Khan was taught in Dhrupad Ang by legendary Beenkar Ustad Bande Ali Khan, who passed down to him the Senia-style instrumental music, inspired by the Dhrupad style of Miyan Tansen. Legend has it, Ustad Imdad Khan took a chilla (isolation) for 12 years and practised to develop a new style Imdadgani Gat, defining the instrumental technique of the Imdaghani Gharana.
Throwing light on the repertoire and what makes this style and technique unique of Imdadkhani Gat he shares, “I represent the seventh generation of Etahwa Gharana tradition, where it started with vocal music of Dhrupad and Dhamar, and gradually took over with surbahar and sitar by Ustad Imdad Khan, which is being played for last six generations. Thus, this baj is technically very sound and innovative and well-developed over the centuries.”
He further adds, “When you learn instrumental music, the right hand is important to practice because the handing of the instrument is from the right hand. Our forefathers worked on the right-hand technique and the bols of the Mizrab, which plays the bols ‘da dir dara, da drar da, dir dir dara’, etc. The right-hand technique of playing is called ‘tantra kari baaz’, which takes care of the grammar and technique of the music piece. Initially, we have to work on the right hand and then the left-hand technique. In instrumental music if you want to express a raga well, your technique needs to be very sound, else you won’t be able to convey the emotions what you want to say.”
The legendary sitar maestro Aftab-e-Sitar, Ustad Vilayat Khan saheb introduced another technique to the sitar repertoire called the Gayaki Ang. Elaborating on its technique, Ustadji said, “Music has two important constituents — grammar and emotion and when there is a balance of these two, then it becomes good music. The Gayaki Ang is the left-hand technique, which helps in enhancing the emotion in the musical rendition.’
He adds, “I would like to clarify that Gayaki Ang doesn’t mean the copy of the vocals. With human vocal cords, the maximum possible expression is possible. However, there are some limitations to instrumental music. If you can create more or less the same effect of vocal music through the instrument, then it is called the Gayaki Ang.”
He adds, “Earlier, the sitar had seven strings — one copper string, two strings of joda, two strings on Pancham and two chikaris. But Ustad Vilayat Khan saheb made the sitar of six strings. He removed one joda and introduced two steel strings of Gandhar and Pancham, because of which the sitar sounds melodious."
So, what are his favourite ragas? “I love to play all basic traditional ragas according to the time of the day and seasons, which are easy to understand and relish for everyone interested in Indian classical music, rather than playing complex ragas,” Ustadji informs.
Ustad Shahid Parvez introduced the students to the aspects of sitar repertoire including the Alaap, Gat and Jhala in Vilambit Teen Taal in Raga Bhimpalasi. He later played a refreshing folk tune (dhun) in Raga Pahadi and concluded his recital with another melodious dhun in Raga Bhairavi. Ustadji was accompanied by Pandit Mukesh Jadhav on tabla, who made the session interactive by making the students learn how to count the Taali and Khali on Teentaal. The students enjoyed clapping to the beats while they learnt these nuaunces of tabla and taal.
Ustadji appreciated the commendable efforts of SPIC MACAY on its initiative to collaborate with schools and colleges for the propagation of Indian classical music. “What SPIC MACAY is doing, is something that every musician must be doing. It’s important to take our traditional music to the next generation, to preserve our music and traditional art forms. That’s why the entire musician community supports SPIC MACAY for all of their initiatives. I also feel there is a need for the media to propagate and cover classical music programs more, so as to support the art and musicians.”
He adds, "As a musician, I believe it’s our responsibility to spread our culture and tradition. Hence, I have also started SPK Academy in the US, wherein we teach Indian classical music to people from all around the world. We even provide scholarships to deserving students and help those who can’t afford them. We also organise free workshops in India and globally to introduce Indian classical music and thereby nurture a new generation of young performing artistes, for the future generations."
Talking about this collaborative initiative between SPIC MACAY and Jai Hind College, Prof Vijay Dabholkar, Principal, Jai Hind College says, “I see a pressing need to instil core Indian values in our students and to sensitise them to the rich and diverse art and cultural legacies of Indian heritage. Our aims to bring the profound traditions of Indian classical music, dance, and other art forms directly to our students. This initiative involves organising workshops, lectures, and performances by renowned artistes, offering our students exposure to these traditional practices. Our goal is to inspire a deep appreciation for Indian culture and encourage our students to actively engage with and contribute to these artistic traditions."
Jai Hind College has been instrumental in implementing a multi-disciplinary curriculum in alignment with the National Education Policy (NEP). “We believe these initiatives will further enrich the academic experience at Jai Hind College and contribute to the overall development of our students.”
Vice chairperson of SPIC MACAY, Suman Doonga shared the thought process behind this initiative. “Ustad Shahid Parvez Khan has been associated with SPIC MACAY since last 25 years and has been instrumental in spreading our heritage and culture to thousands to students across the globe through various SPIC MACAY conventions, lecture demonstrations anf concerts. We really share our best associations since his days harking back to the Mumbai chapter days of spic macay. SPIC MACAY, has more than 5000 programs and 1000 institutions across the country and abroad. We aim to touch every child in the country and abroad.”
The event was indeed a great initiative towards propagation of Indian classical music, especially instrumental, for Gen Z, who rarely sit down to listen to the form.
