Swar Sannidhya – Understanding the relation and interplay of musical notes

Embarking on a life-changing, eight-day odyssey led by Vidushi Anuradha Kuber and Dr. Chaitanye Kunte, alongside Shri Saumitra Kshirsagar and Shri Keyur Kurulkar. This experience was nothing short of transformative. Surrounded by such an exceptional group of individuals, I found myself deeply grateful for the opportunity to learn, interact, and grow in their presence. The support I received throughout the workshop was invaluable. I felt enveloped in a tapestry of wisdom, gratitude, and unparalleled learning.

Having attended numerous music workshops in Delhi, from half-day sessions to five-day intensive workshops, I've often heard the same question: "How to sing in a high tempo?" The quest for mastering high-tempo singing often dominated but was still challenging. On the very first day of Swar Sannidhya, Anuradha Tai dispelled this fear by making us sing a gat in Raag Maru Bihag, composed by Dr Aravind Thatte. We began with a slower tempo, memorising the composition, and gradually increased the speed. Before we knew it, we were effortlessly singing at 420 bpm, seamlessly synchronising our voices with the rhythm of the composition.

In the following days, we delved into intricate nuances of Raag Maru Bihag, Virndavani Sarang, Mishra Kafi, and explored the depths of Raag Yaman and Bhupali through Sargam Geet. We were immersed in the rhythmic cadence of Natvariye Tarana in Raag Audav Bageshri and embraced a melodic journey through a Raag Malika, weaving together diverse ragas based on the time in which they are to be sung. The pedagogy was simple and traditional where music learning is essentially a Guru-mukhi vidya. We weren't allowed to take written, video, or audio notes during the sessions. Instead, compelling us to internalise compositions and render them from memory, created small segments of raag elaborations, and presented them resulting in fostering a deep connection with the music. Only later did we record our learnings in notebooks for lifelong reference.

Dr. Chaitanya Kunte Sir sessions were equally enlightening. He explained various raag classification systems, both ancient and modern, detailed the nuances of identifying raag ang, and clarified our doubts with remarkable simplicity. His humorous approach made complex topics easily understandable and memorable. Engaging listening sessions enriched our musical palate, as archival treasures were unveiled, reshaping our perceptions and leaving an indelible imprint on our auditory sensibilities. Further, having learned Kunte Sir compositions previously during our regular classes, it was indeed a pleasure to meet him, sit in front of him, and learn with him.

Most of us have heard about the 22 shrutis in Hindustani classical music, but the concept often seemed elusive. Shri Saumitra Kshirsagar demystified the science and mathematics behind the physical configuration of Śhruti swara arrangement on a veena instrument, corresponding to 22 Shrutis in a Saptak. It was a mind-blowing exercise. Cracking the notes, close to the correct one felt like a victory. Saumitra ji didn’t just explain the concept on paper; he played and sang the shrutis, demonstrating their usage in various raags. He also showed us how to play these on the iTabla Pro app. I realised that most of us were hardly using this application to its full potential.

We had two sessions on understanding the Tanpura, conducted by the immensely talented Shri Keyur Kurulkar. He taught us how to make, tune, change the strings, and take care of the Tanpura. During practical sessions, we tuned the Tanpura ourselves. Throughout the workshop, acoustic tanpuras were available at the venue for us to practice, allowing us to understand the different overtones. Spending time with this instrument was a highlight for me. I would quickly grab my meals and rush back to practice with the Tanpura. The younger students at the venue also helped me practice the bandish we learned along with playing the tanpura during break time.

In the sacred space of Swar Sannidhya, amidst the harmonious interplay of melody and rhythm, I found not just instruction, but illumination. Each note resonated with the collective wisdom of generations, offering a glimpse into the infinite expanse of musical possibility. As I reflect on this transformative journey, I am filled with gratitude for the privilege of being part of this immersive experience, where every moment was a symphony of discovery and growth.

Here is some glimpse of the eight days.

Swar Sannidhya was more than just a workshop—it was a profound journey into the depths of classical music, reshaping my understanding and appreciation of the art form. I can’t wait for the next session of the same and I hope to build up my knowledge and skill and come back better prepared for the next one.