Looking back at my musical journey that began almost 50 years ago, I realise how blessed I am!
I had an eminent musician for a father (Pt C.R. Vyas) and, the father of santoor, Pt Shiv Kumar Sharma, for a guru. Could a young music enthusiast ask for more?
Growing up in a house that was frequented by legendary artistes, I imbibed more by listening and observing. There were endless discussions and mehfils at home. Music became a part of our (including my two brothers) consciousness more because of the mahaul (ambience). When I went to learn from my guru, there was no restriction on time. I would often spend a whole day training with him. So I am a vociferous supporter of one-to-one interaction with the guru.
Yes, technology’s presence in our life and its ability to make things easier for us are undeniable.
But in art, tradition holds sway. Sangeet sanskar se banata hai (culture is the leitmotif of music).
We need to create that kind of an ambience for this generation through cultural festivals. They should experience the sukoon (comfort) our arts can provide in these days of conflict and chaos.
Crucial exercise
If I can say that I have gained some expertise over this difficult instrument, it is because of watching the guru tune the santoor, arrange swars over the many strings and express the emotions of a raga. This exercise is crucial in the life of a learner.
Initially, you may try to emulate the guru, but over a period of time, it will help you develop a distinct approach. I travelled with him extensively and observed how he presented concerts. Learning doesn’t end with just knowing the technique, the test of your skill is how well you put it across to the audience. Only a guru can help you gain an insight into the various aspects of music.
Even today I remember how he taught me to turn around a simple phrase ‘ni re ga re ni re sa’ in raga Yaman by holding the striker on a note, sliding it and then coming back to ‘sa’. While playing the notes, I understood the importance of being a trained vocalist.
My father insisted that I should learn to sing even if I wanted to pursue the santoor. It is hard to put in words what the learning meant, it is something to be experienced.
Many youngsters, once they begin performing, feel that riyaaz is not necessary. It is a continuous process.
I do the palta riyaaz even today. And many a time, during such practice sessions, I have found new ways of handling a swara or presenting a raga.
The more you polish your skill, the more it will gain shine over time.
My three musical mantras: Guru se taalim, sur ka gyan aur riyaaz (learning from a guru, knowledge of sur and practice).
The writer is a santoor exponent
