Moorchana... in a Jiffy!!

- Pt. Vijay Bakshi

Einstein's Relativity of Motion - where we stand, and deliver!
While travelling in a train, there is an illusion that the surrounding scenery and are rushing backwards. Though, along with our fellow travellers, we are hurtling along at, hopefully, magnificent speeds - we appear to be stationary vis-a-vis other passengers. 

But for a couple of kids standing at the side of the tracks, it is obviously, to their eternal delight, that the train is in motion. Whether the kids are out just for a chance to wave at the train, or marvel, once again, at this gentle mechanical giant - standing next to each other they appear stationary to each other. But, if by some childish magic they were to ascend into outer space, it might obvious that the Earth is not stationary but revolving around it's own axis while circumambulating around the Sun - which is going through it's own motions. 

The key here is the relativity of motion. The passengers consider themselves stationary, while the kids at the side of the tracks, and everyone else not in the train, know that the train is in motion. Consequently, motion is not objective - it needs a context. Let us apply this principle in music.

Relativity of Shadja - co-motion!
Imagine that an vocalist is performing alaap* in Raag Kalavati. A person in the audience is sitting far enough from the stage that the tanpura cannot be heard. Only the mesmerising performance of the vocalist can be heard. Another person joins, and asks the first about the raag being performed. The first person informs that it is Raag Abhogi. It will be easy to dismiss that person as ignorant of music - but unwise. For without the context of the Shadja - the note which the tanpura drones in the background - it is virtually impossible to identify a raag. So if our audience member, who could not hear the tanpura, is technically not incorrect. He just assumed another Shadja. 

Based on the vocalist Shadja, Raag Kalavati consists of the following swars:
Sa Ga Pa Dha ni Sa Ga Pa 

But if we change to Shadja to the swar Pa(Pancham) we get the following result:
Ma Dha Sa Re ga Ma Dha Sa  
These swars resemble Raag Abhogi. 

*Alaap is an unmetered gradual Raag introduction and expansion. 

Quantum Leaps of Shadja - either here or there!
Let us do an exercise which will illustrate the above point. Write down in a line the 12 swars that are commonly used - seven shuddha swars, 4 komal, and Teevra Madhyam. 
Below this line  - write Sa directly below re(Komal Rishabh), and then fill in the remaining swars. On subsequent lines keep moving the Sa by one place. The table below depicts this exercise. It has three lines that  are filled. Create your own version.

Table 4.1 Moorchana of 12 swars exercise

Fill it up and your very own quick-reference moorchana table is ready. Starting from any swar and moving sequentially forward creates a moorchana. The concept of moorchana is discussed in ancient texts as well.

Each of us if familiar with a Samvadini - a keyboard based musical instrument. Usually novices are confused about which key is Shadja. Due to knowledge of moorchana we can now answer confidently - any key can be considered Sa. Classical vocalist usually denote their natural Shadja by referencing a key. eg. I sing in Kaali 1 (C#). 
When a composer informs a singer that the song 'is in madhyam' - the composer is implying that the Shadja is to be moved to Shuddha Madhyam swar for the song.

Sounds New - lets resonate!
Moorchana is used to create new raag's. Pt. Ravi Shankar created new raags viz. Parameshwari, Rangeshwari, Gangeshwari, etc., based on moorchana's of Raag Saraswati. Also, moorchana can be used to compose songs or create music pieces between two verses of a song.

Here is a little exercise for you. Raag Bhoop consists of the following swars:
Sa 
Re - Shuddha Rishabh
Ga - Shuddha Gandhaar
Pa - Pancham
Dha - Shuddha Dhaivat

The moorchana of Raag Bhoop gives swars of other raags. Your task is to find them. You can either use the table that you created above or the SaRas app for Android devices. The app should make your search easy, and it can be put other uses of moorchana as well - as it has 12 tanpura's to suit your specific needs.

If you have any queries - feel free to contact me on vvb.saakaar@gmail.com.

Benefits of Moorchana - Part 2

- Pt. Vijay Bakshi

In addition to the previous two, let us look at a couple more benefits of Moorchana.

3) Swar Couplings - it takes two to tango:
In Indian classical music the swar(note) has prime importance. Usually, every swar has it's own importance. If an vocalist renders the Ga(Gandhaar) swar, then the accompanist also plays the same swar, whether on keyboard or string instrument. Incidently, in western music the accompaniment may play an appropriate variant to the main vocalist. These are known as chords. This is very common in main-stream/non-classical music. It goes without saying that in the use of chords, there is a certain relation in the notes that are played, else it would not be melodious.

Audio 3.1 - Cover of "Haal kaisa hai janaab ka". Vocals: Shruti Vaze and Pt.Vijay Bakshi

Audio 3.2 Cover of "Sagara praan". Vocals: Shruti Vaze and Pt.Vijay Bakshi

Light music is based on lyrics, and chords are used to augment the emotion or meaning of the words - which is the real skill of the music composer. 

Indian classical music does not include the concept of chords ie. playing more than one note  at a time. It is a sequential composition of swars, and there are certain pristine relationships between the swars. The fourth and fifth swars respectively from Sa(Shadja) are Ma(Shuddha Madhyam) and Pa(Pancham). This yardstick is used to derive the 'vaadi-samvaadi'(emphasis) swars of the various Raags. Sa-Ma is known as Shadja-Madhayam Bhaav(Measure), and Sa-Pa is known as Shadja-Pancham Bhaav. 
Eg. Re(Shuddha Rishabh) and Pa(Pancham) is Shadja-Madhyam Bhaav
Re(Shuddha Rishabh) and Dha(Shuddha Dhaivat) is Shadja-Pancham Bhaav

Without diving too deep into the precise positions of various shruti's, we get the following swar relations. 

Table 3.1 Sa-Ma and Sa-Pa Bhaav

The SaRas app will help you in finding the above combinations. You can listen to some of them below.

Audio 3.3 A demonstration of Sa-Ma, Sa-Pa Bhaav 

A note about Audio 3.1 and Audio 3.2 above.
Audio 3.1: It is the last part of a song from a 1950's film "Chalti Ka Naam Gaadi". The duet is sung by Asha Bhosle and Kishore Kumar. They sing the same line together but the base Shadja for each is different. Due to the Sa-Ma/Sa-Pa relations it sounds melodious.

Audio 3.2: It is a pre-independence patriotic song sung by Lata Mangeshkar, Usha Mangeshkar and Pt. Hridaynath Mangeshkar. Towards the end of the song the word "Sagaraa" is repeated by artists together, but the base Shadja of each is different creating an interesting melody. 

4) Swar Couplings in Raag Vistaar(Elaboration) - an elaborate revelation:
The previous section was the theory of Sa-Ma and Sa-Pa Bhaav's (Measures) and their (self) evident melodious relationships, even when applied to other swar couplings. These measures are usually applied in a process known as Raag Vistaar ie.when the vocalist gradually reveals to the audience his/her interpretation of a Raag. 

Let us take Raag Malkauns as an example. 
Aaroha (ascent) - Sa ga Ma dha ni Sa
Avroha (descent) - Sa ni dha Ma ga Sa 

Vaadi-Samvaadi (Emphasis swars):
Vaadi - Ma
Samvaadi - Sa

There is not only a natural harmonious relation between the vaadi-samvaadi swars, but also between:
1) Shadja-Madhyam Bhaav:
i) ga - dha (Komal Gandhaar - Komal Dhaivat) 

2) Shadja-Pancham Bhaav
i) ga - ni (Komal Gandhaar - Komal Nishaad)
ii) Ma - Sa (Shudda Madhyam - Shadja of upper Saptak[octave])
iii) dha - ga (Komal Dhaivat - Komal Gandhaar of upper Saptak)

These relations enhance the melody of Raag Malkauns. Have a listen.

Vid 3.1 Use of Sa-Ma, Sa-Pa Bhaav in Raag Malkauns by Pt.Vijay Bakshi

In general, the more such couples in a Raag the more melodious it can be. These couples help in a more deliberated elaboration of the Raag and satiate the audience. The most significant part is that repeat performances of the same Raag adds to the novelty factor rather than reduce it.

Let us take another example of Raag Yaman. 
Aaroha - Sa Re Ga MA Pa Dha Ni Sa
Avroha - Sa Ni Dha Pa MA Ga Re Sa
Vaadi - Ga
Samvaadi - Ni 

Couplings*:
1) Shadja-Madhyam Bhaav:
i) Re - Pa (Shuddha Rishabh - Pancham)
ii) Ga - Dha (Shuddha Gandhaar - Shuddha Dhaivat)
iii) MA - Ni (Teevra Madhyam - Shuddha Nishaad)
iv) Pa - Sa (Pancham - Shadja of upper Saptak)
v) Dha - Re (Shuddha Dhaivat - Shuddha Rishabh of upper Saptak)
vi) Ni - Ga (Shuddha Nishaad - Shuddha Gandhaar of upper Saptak)

2) Shadja-Pancham Bhaav:
i) Re - Dha (Shuddha Rishabh - Shuddha Dhaivat)
ii) Ga - Ni (Shuddha Gandhaar -  Shuddha Nishaad)
iii) Dha - Ga (Shuddha Dhaivat - Shuddha Gandhaar of upper Saptak)
iv) Ni - MA (Shuddha Nishaad - Teevra Madhyam of upper Saptak)

Application of the above couplings in Raag vistaar.

Vid 3.2 Use of Sa-Ma, Sa-Pa Bhaav in Raag Yaman by Pt.Vijay Bakshi

*To arrive at these couplings, change position of the Sa to each of the other swars in the Raag. The SaRas app will make it easy to do it.