Dil ka singer, technical singer, classical singer and figure-skater
Dr.Rahul – (the other Rahul, not our usual Rahulyser) begins a new column from today where he educates us on classical singing, technical singing and a lot more.
Like many, I learned classical music only in my school years and succumbed to other career pressures later. But I kept up my interest and kept learning from here and there, from friends, from my university-orchestra colleagues, from our professor in college (who was classical radio singer) while giving harmonium accompaniment to his practice sessions.
There was a stage in my life when I was taken over by western music, especially the concepts of chords and harmony. This was also the stage when my voice was transitioning and I was more into playing instruments rather than singing. Then, came my next level of learning in classical music (mainly through my interactions and through self-pursuit). These were the Indian concepts of what is called ‘melody’.
So what makes classical singing so special and melodious. It is the interaction of surs, how they are shaped modulated, approached. With what speed how many surs are packed within a beat and within a measure. Often times instead of actual words, vowel sound is used when there are multiply many surs to be packed.
So let me start defining some jargon here:
A sargam is something where you speak actual notes of raga, it could be slow or fast. Aalap is sequence of notes sung in a vowel sound usually “aa”. It is often slower and used in starting or ending in ad-lib mode. Taan is a faster aalap with at least double the tempo of song. It packs many notes within a measure of a beat. Murki (extensively used in ghazals) is a specialized, subtle and short taan which does not necessarily end at cycle (measure) of taal but could be within a beat. Murkis can be used in between the syllables of a word or at the end. Depending on type of modulation used murki’s can go even faster than taan (which are usually fully modulated surs). Among the singing techniques, apart from these, there are more “Alankars” like gamak (which uses more forceful modulations than murkis), andolan, kampan (equivalent of western vibrato). There is also harkats which consists of small intermediate surs of vowel sounds (which are practically used in every film song). Apart from these there shrutis–the extra surs, nearby every sur. Classical gharanas differ in the way they use these shrutis. Using shrutis, the shape and the approach of sur can be beautified. There are alankars like meend, which are the techniques to reach from one sur to another distant sur by stretching and rolling smoothly over all the intermediate surs.
In melody oriented Indian music, these are the elements which are used by classical singers to build that divine connection and give that depth of feeling which is generated. Ramadas Menon of The Hindu has this to say about taans:
“The taan, which is a fast paced torrent of musical ideas expressed using only the akaaram (long a syllable, such as a in far) is perhaps the most important edifice on which the entire structure of Hindustani music rests. When taans are properly rendered , both the artiste and the listener are transported to a different plane of consciousness. It is well nigh impossible to indicate the thrill one experiences when listening to Bhimsen Joshi, Pandit Jasraj, Kishori Amonkar or Parween Sultana unleashing their superfast taans on the audience - you just lose track of yourself and float along with them”.
Now, coming to Raja’s singing we always wonder what is it in his singing that makes us fans so emotional and so connected? What is that dil-ka-connection which his renditions create ? In technical terms the answer is same as above. It is the electrifying pace with with he applies his taans and murkis. It is the way he shapes his surs and gets them dot-on, even while maintaining his super-fast pace. It is the way he stretches and takes meends over high-pitches. Why did people feel so emotional about “meri zindagi ek pyaas“? It was the extensive use of beautiful murkis which used all those dard-generating connections with surs. Listen to his “kuch nahi i i ii i i i mere paas” ….and you can distinctly hear shruti in between. Listen to his “Maro saajan j i ii ii i i v jhadi” (in kesariya balam) you will notice mixed shurtis which are used to generate feelings and intensity. Listen to his “bhaav ni i rat se kar rrrrrrrr de jaadu” (in jhanak jhanak) and look at the stretch of “ni…i” (the meend) and taan at “karrrrrrrr“, these are way more complex and faster than the original version.
Well no wonder, Pt Jasrajji rightly said “raja agar maat bhi kha jaye to bhi raheta raja hi hai, bahot achhi taane lagayi aur woh bhi sur main” the only *technical* comment given in the episode (while rest got edited?). Many other singers in reality shows have attempted these elements, but mostly mathematically with calculations, and barely making it. Raja is so natural with these alankars that they come swiftly and naturally, so much so, that people don’t even notice that there was a classical element in this.
Another thing about Raja which is so beautiful is that he has his own understanding of musical beauty. His own depth of feelings. For most people the improvisations, and patterns are give by music directors or by the original song. Raja is thoroughly original in this department–improvisations. For a classical singer, as one matures the improvisations and the moods you express using them, is what makes their performance. Many classical singers take years of training (often 40+) to reach this stage before they can give out real performances.
Raja has shown the elements of almost all the advanced classical techniques and not just techniques as in to show his technical prowess, but to create the beauty and create this divine connection with listeners. And he deserves special kudos for the mass appeal (many singers just remain trained-audience singers only), for showing this within the domain film songs, for doing all of this within 3 minute performances, for rocking and mesmerizing the audience. He showed how the most esoteric concepts can be used effectively to make an appeal to wide range of listeners.
Now coming to figure-skating, what makes Raja a figure skater? A few months ago, I was watching a world figure skating championships in March. One contestant, Mao Asada, fell down during her performance and I was surprised to see that she still won the tournament where I thought some others had given flawless performances and seemed more perfect. My wife quickly explained to me (followed by the commentators also) that she had fallen attempting “triple-triple” while some others had not even dared to attempt that level of technical strength.
I remembered Pt. Jasraj-ji’s quote then. I am glad that figure-skating was not left to public voting, otherwise an idiot like me would have voted for someone who didn’t even end-up in top three. Coming back to these musical reality shows, they can be hardly be compared (in their judgement standards) to figure-skating. May be they can be compared with WWE. And with their prime purpose to garner as many bulk-votes as possible and make money, some of the tools are to show equality between contestants, or giving them different tags as technically-perfect-singer to someone, classical-singer to some other. It defeats their purpose if all the tags are bagged only by one contestant. But then again, if Raja was to be given only one tag among: dil-ka singer, classical singer or technical-singer: I am happy with what he got– dil ka singer. That is where it all sums up.
– Rahul
:D okay as far as the personalized message...
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Mr. Rahul,
Great write up!!
thanks for all the knowledge…looking forward for more enlightment!!
Dr.Rahul, one simple question. Would the dil-ka-connection be possible if Raja wasn’t all that classically and technically accomplished? We know his singing touches hearts - but are there hidden technicalities behind it that makes it possible?
Rahul wonderful article,
yes the title dil ka singer suites the most to Raja,
While reading the first para I was thinking that I would clearly understand if the technical words explained along with some examples of Raja’s songs,and when I saw actually you explained superbly in the way I was hoping for,I really enjoyed the article even more after ,
Thank you so much for the technical part,I’ve really gained some knowledge for free of cost,
Looking forward to see more articles like this,Thanks.
Rahul
Great article. Coming from a music family, I agree with you regarding the judging and voting. Just like Saregamapa, the judges are putting Aneek on pedestal and people forget the real music and vote for a popular person.
Superb column Rahul.
Thanks for your explanations. Really enjoyed it. Didnt know when I wrote to you once before that you were so knowledgable when you told me that you were not the rahulizer rahul.
Wish I could get back to learning music all over again.
Thanks once again a very very very BIG thanks
Rahul - lovely article. Thank you so much for explaining all this in as simple terms as possible. I am being educated - thank you…
To tell you the truth - when I started reading it I had to force myself to read - you know if I have anything technical to read - my brain is ready to give up and shut itself down… 
- and then when you started explaining with songs sung by Raja and how it was done - that’s when tthe connection happened and my brain said aha - this looks interesting - let’s continue reading - thank you very much for this article.
Can you answer Manish’s question? I would love to know what you think.
If Raja just did what he does best, he shouldn’t need to use any dramas to get vote - most of us will not be able to resist him, anyway…
I just hope he realizes that - and sings from the heart…
Oh no,
My hearty condolence to Ishmeet’s family,
just saw the news of Ishmeet’s death on tv(Winner of SVOI-1).
Lavanya, what happened?
hey question any of you watched STAR VOICE OF INDIA AND THE WINNER ISHMEET SINGH
WELL HE JUST DIED FOUND IN A POOL.
MAY HIS SOUL REST IN ETERNAL PEACE AMEEN
JENNY
Oh that is terrible. I did not see the show, but have heard his name mentioned by some of my friends. My condolences to Ishmeet’s family.
THIS IS SO SAD MAN , I JUST SAW HIM IN JO JEETA WOHI SUPERSTAR.
HE WENT ON HOLIDAY IN MALDIVES AND FOUND DROWNED.
WOW ONE MINUTE WE ARE BREATHING AND NEVER KNOW THE OTHER MINUTE WHERE WE ARE , SO WE ALL SHOULD PRAY AND DO GOOD THINGS IN LIFE.
INA LILAHI WA INA LILAHA RAJIUN
SO SAD I HAVE TEARS IN MY EYES
oh no I cant believe this is true. I am shell shocked!!! I also just saw him on jo jeeta wohi sikandar. So young shit why do good people go away like this and so much of promise he had!!!!!
GOOD PEOPLE OR BAD PEOPLE WE ALL HAVE TO GO ONEDAY., I KNOW IT FEELS SHOCKED, I JUST HEARD IN THE RADIO AND TEARS CAME FROM MY EYES. I FEEL SO BAD FOR HIS FAMILY.
GOD LOVED HIM AND I GUESS HE TOOK HIM THATS ALL WE CAN SAY AND WE CAN PRAY FOR HIS SOUL
I am glad he got to compete in a singing contest and also won the award… he got to do a bit of what he wanted to do in life.
Rahul thanks for the awesome article.
It was so enlightening. Learned so many things today.
Everything was put so very well. Its great to read it and cant wait every week to read more.
Thanks for sharing your knowledge with us and making us little knowledgeble.
You are so awesome!!
God Bless You!
Manish,
I feel Kishore Kumar also creates dil ka connection, without employing any of these techniques but just through his voice. In case of Raja, it is more of his gayaki elements. And his own variations he uses. Also, there are people I know who absolutely do not have formal classical training, but are such minute observers, that they can simply mimic and produce these elements. And i have also known some classical music visharads who still can’t sing taans and shrutis. In that sense music primarily is natural art in my opinion. Kuchh logo pe maa saraswati ki krupa hoti hai !
If I am not wrong, S.P.Balasubramanium is another singer who isn’t classically trained. In recent reality shows, Mussarat Abbas is probably another example - who has begun on classical singing very recently.
Thank you Rahul for your response… enlightening
Now, Manish what do you think - does Raja creat dil-ka-connection with the technicalities? I really would like to know what you think.
Shobha, I think it could be a mix of both. Primarily, it is the soul he puts into the singing which shows. And the technical/classical finesse which laymen like me can’t really spot is a bonus. But as Rahul says - he is probably more of a naturally gifted singer.
In cricketing terms, Sehwag is a complete natural with little regard to technique. Dravid is a complete technician who puts in a lot of hard-work. And Tendulkar is naturally gifted with a great technique.
In my book, Raja would be the Tendulkar category.
Actually, I would really like to know what all our other experts in music / singing think about this.
Looks like our comments crossed Manish, but thank you so much for the explanation. You have as usual expressed yourself clearly and I thank you for that. Helped me understand your point of view. Thank you.
oohh wow….Rahul…thankkkk you sooo muchhh for educatingg uss….its reallly reallly a great artcile…..lookingg forward to some moreee
BTW, Do you think Raja could do a Triple Axel Triple Toe? I am great figure skating fan too. More of figures and less of skating
Now, Manish, why am I not surprised that you are more into figures????
Imagine raised eyebrows here like the Marx brothers - But wouldn’t you prefer a female figure - and not Raja - hahaha 
I prefer watching.
Raja would however need a partner for the Ice dance - and probably he’ll find a lot of willing ones here.
I’m sure - there will be a big fight here to be his partner… you can watch the fight taking place…. from afar…
And I can join you as an audience since I am not interested… 
I think I just heard Mmaoji - telling us to behave ourselves….
Manish,
Loved your tendulkar analogy. I am a novice when it comes to watching figure skating, but I too probably got sucked into it because of figures. I loved the figure-skating analogy because it also involves beautifully blending in the highly sophisticated technical skills into performance. But then musical reality shows are competitions where figure-skaters and cat-walkers compete side by side. And then “figure” is what most people look at !
hey everyone i just read raja hasan’s interview ….i m in total shock…..he mentioned that he has a 9 year old DAUGHTER—SANYA………..pls confirm this………i cnt believe my eyes………god it cnt be true……he must be only 17 or 18 back then………its ridiculous……
Let me try now….
Form The Times of India
The Raja of music?
30 Jul 2008, 0000 hrs IST, SHWETA THAKUR ,TNN
Raja Hasan (TOI Photo)
The first thing that strikes you about Raja Hasan is his curly locks… And, of course, his smile.
But the lad who hails from the colourful city, Bikaner, has much more to him than his charming looks — and that’s a vibrant voice that instantly touches your soul. “It is a blessing to entertain music lovers…, bring a smile on someone’s face and spread happiness through my music. And I hope to continue doing that all my life,” says Raja.
A descendant of the erstwhile royal singers of Jodhpur, Raja has been giving stage performances right from childhood, and now is a regular face in a number of TV reality shows. “When I was eight-years-old and giving my first stage performance, I realised that nothing but music will be a part of my life,” says Raja who went on to learn music from his grandfather Allah Rakha Khan and father Rafik Sager.
But, it was cricket sensation Sachin Tendulkar who finally inspired him to leave his hometown and move to Mumbai in 1998 to try his luck in Bollywood. “That year, Tendulkar had scored seven centuries. Looking at him, I used to marvel at his talent. And I thought to myself that if he, despite his height, can smash some of the world’s best bowlers, why can’t I make my name in the film industry? After all, I am taller than him,” he laughs.
After shifting base to Mumbai, Raja had his share of struggle. Of course, success too came his way but it was only after a while. “Meanwhile, I got married and it was my wife Ayesha who really helped me pull through my lean phase. Without hers and my parents’ support, I wonder if I’d have made it.” As his eyes become moist recalling those days, he says, “My mother used to ask me all the time when will I be seen on TV, or the dabba, as she used to and still calls it. By God’s grace, now she sees me almost everyday on it.”
Raja also confesses candidly that life sure has changed for him now. “My phone just doesn’t stop ringing. In fact, now I can say that after all this, strangely, friends have become foes and foes have become friends. Time has changed a lot of things.” However, despite all that adulation and fame, Raja remains grounded, and has his head firmly placed on his shoulders. “I’m enjoying my work, that keeps me so busy. And my free time is spent with my wife and nine-year-old daughter Sanya. No time for parties for me,” he smiles.
While shows keep him busy all the time, Raja is also realising his childhood dream of becoming a playback singer. And he already has an impressive lineup of films like Bachna Ae Haseeno, Chandni Chowk To China, Do Not Disturb, Bal Ganesha II, Sadiyaan and also a Bhojpuri flick Bhole Shankar , to his credit.
—
Let’s not jump to any conclusion, okay guys and gals… let’s play it cool…
A request - don’t all get worked up now - play it cool, please…
ok shobha im not going to gt worked up…. or tk ny wild guesses….which is really hard. for me right now…im keeping all my weird thoughts to my mind….but please try to find out the truth,…..thnx