Vocal Training - Update #1

The switch from learning sitar to learning Hindustani vocals hasn't been a smooth one. One key reason for the switch was to really immerse myself in the consciousness of sound by listening, understanding and being able to reproduce it. The complexity and intricacies of sound comprehension and production in Indian classical music should surely improve cognition of sound, or so it would for most. However, it has not done much for me. I've been trying to learn the basics from this woman who has been maniacally encouraging of all her students, and despite my failures as a student, she has managed to commend me on my “Sa.” She says I have the best “Sa.” I don’t know about you all, but that means something…oh, besides the fact I haven’t moved past “Sa.” It means that I’ve mastered the drone sound. At least now, in an Indian classical music event, I can fill in for a snapped Tanpura string. Now that’s something! :)

Ustaad Vilayat Khan's Jhinjhoti

As Jhinjhoti takes form, I find myself transfixed, overwhelmed at the intensity of the music. The music continues and my mind opens to wide open spaces, gargantuan structures, and to be a part – to be a small part of this beautiful world, my heart fills me and spills over. For now, I have lost myself. The music has enveloped my senses, my being, and my life. Each stroke so sweet, so beautiful, so balanced – perfect. As the movement of the raga steps through everything that means most to me, I stand back tears rolling down my cheek and unable to move, simply experiencing it’s most beautiful and divine presence. I’m unable to approach it but it chooses to comes to me, even be it for an ephemeral moment. The divine presence takes form and this ephemeral moment turns into eternity.